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•-' V^ <'^ '»-• ^G^ ^ 



INSTRUCTION BOOK 



FOR THE 





iiliil 




OF 



CUTTING, FITTING AND BASTING. 



By JAMES McCALL. NEW YORK. 



'ii-i^- ^i 



There are many who excel in trimming, draping, and in giving 
to a dress an air of style, but poor fitters. A want of this knowledge 
precludes the possibility of i-eaching the highest position as a cutter 
and fitter. The difficulty in gaining the higher art is the want of a 
knowledge of the lower art. The object of the following lessons is to 
supply this want. Any young woman "who "wishes to become perfect 
in the art of cutting, fitting and basting, must begin at the beginning. 
All kno^wledge outside of this is artificial, uncertain and unsatisfactory. 



THE FRENCH AND ENGLISH SYSTEMS, 

The art of drafting or cutting garments by I'ule is called the 
English System. The art of fitting garments by model is called the 
French System. The English di'essmakers must cut each and every 
garment by rule ; that is, by drafting a pattern for each customer ac- 
cording to measure. All the tools required is an inch tape and a 
square. The French dressmakers cut and fit by models, and not \>y 
rule. The English dressmakers try on each garment from one to three 
times duiing the process of making. The French dressmakers seldom 
or ever try on the garment until it is sent home complete. The fol- 
lowing directions ■will explain the principle of the two systems, and 
give full and complete instruction in both. 



|'>V 






,\^ 



THE ENGLISH SYSTEM. t^ 

Tlie first fourteen les'^ons in this book explain tlie Engiisli System of 
drafting or cutting by rule. The object of these first lessons is to teach 
those ^lo wish to learn the first principles of cutting. Three hours close 
application to the study of the first lesson Avill enable any one to comprehend 
and understand the follo^ng thirteen lessons ; but if it takes six or even 
twelve hours it will be time well spent, as it will be of no use to proceed 
until this first lesson is thoroughly understood 

When you are able to cut and fit a dress waist perfectly, you will have 
mastered nine-tenths of all that is worth knoiving in the art of dress cutting; not 
merely a plain waist for a good figure, but for any figure or style of waist that 
may present itself. It is a rule ivith artistic dressmakers in Europe when giving 
instruction in cutting, to require the pupil to practice three months on the waist 
and sleeves alone, while ten days is considered ample time to learn everything 
else pertaining to the business. It is this thorough drilling, and mastering every 
detail in the cutting and fitting of the waist and basque that gives the man dress- 
maker the supremacy as a cutter and fitter. We consider this matter so important 
that we devote the first thirteen lessons to waists alone, and we here state for the 
encouragement of beginners, that any young woman who is able to cut and fit 
a waist pejfiectly, is able to accomplish almost any task in dress cutting- 

The entii-e contents of this Book is intended for beginners ; but the 
more experienced dressmaker may also find much valuable information, 
especially if she is in pursuit of knowledge. The author has tried to keep 
in mind tliat the highest attainment of the young dressmaker is to stand 
at the head of her profession as a cutter and fittei', and to this end the 
work was begun. Eeadei-, if you have that ambition, and have patience 
to go forth, step by step, learning each lesson as you go, j^ou will be rewarded 
"with success. Beai' in mind that Moschcowitz and Worth, no^v the greatest 
dressmakers in the v^oiid, were once as ignorant of dressmaking as you are. 
It "was by gathering up the little things, and binding them together, that 
make them great. In this w^ay they gained a fountain of kno"wledge, 
which has placed them on the highest pinnacle of fame in their profession. 

The plan of the pi'esent "work does not contemxDlate the invention of 
any new system of cutting or fitting, but gathers fi'om all sources, in 
Europe and America, the best ideas from the best dressmakers, \vhich are 
arranged and illustrated in such a manner as to biing the highest art in 
cutting and fitting within the reach of the humblest dressmaker. The 
principal object of the work is to show ho"w to avoid alterations, and how 
to make a perfect fitting garment. A good x^lain sewei-, with no other 
acquirements in the art, can learn the system in a fe"w weeks. A good plain 



sewer, -with a knowledge of dressmaking, can learn the system in one week. 
A dressmaker, seeking a more extended knowledge of cutting and fitting, 
can learn the system in three days. Any young woman with a definite 
ohject in view, who will sit down and seriously study the lessons in the 
following pages, will be sure to succeed. If the object in view is to fill a 
high position as cutter and fitter, that can be accomplished in three months, 
if you have a natural taste for the work. A strong desire, and a determined 
will to fill such a position, is an indication of natural ability. "What is 
wanted is skilled labor, and this will always command a high price. It is 
estimated that there are 7,000 dressmakers in the City of New York 
exclusively engaged in making ladies' and children's dresses. This includes 
270 men dressmakers. The rate of wages average from $4.00 to $60.00 per 
"week ; the price is graded according to ability. In Moschcowitz & Russell's 
establishment in New "York, which is one of the best and most extensive in 
the "world, there are ninety men dressmakers, the average wages of each 
is $31.00 per "week ; some make as high as $50.00 per "week. 



AM IMP&MFAWF §WEBTmM, 

What qualifications must a lady have to fill a position as forewoman in a dressmaking establishment 
First : She must be able to cut and fit any kind of a garment perfectly without a pattern, chart or system of 
any kind. Second: The only tools she requires, or is allowed to use, are a pair of shears, an inch-tape, a 
pencil and a tracing-wheel ; with these she must be prepared to cut any thing and every thing. She must 
cut her own patterns and prepare her own models. In Paris, all applicants for a position as cutter and fitter 
are tried by this rule. If you apply for a position as forewoman, and you should be asked what rule you cut 
by, you should be able to say, as the French say, " My shears and my inch-tape is the rule I WQ;-k by," 



^ollou' tlu ^Tfiuh rulf, ;^ rtrf,«i'.s to fit utU fihmM not br tijtht nor loo^ic, but pxtm gently on rrcrg part. |lo 
ivrinklr^' ;shoultl bf mn txrcpt thojit whkli arijit front tht natural ntovrwrnt of thf botlH. 



DIRECTIONS FOR TAKING THE MEASURE. 




Pass a tape-measure around tlie In-east just under the arms and above the bust, as 
seen above ; draw it one irich tighter than the dre><s is to Jit, tlie number of inches tlien 
ascertained is the size of the bust. The measure should be taken over the dress. 

Take tliree measures. 

FiEST. — The measure above the bust as seen above. 
Second. — The measure around the waist under the belt. 
TniED. — The length of waist under the arm. 



If ^an have the ambitiati atid taste ta beccme an artist in dresstwakiug, tue here 
place in ijaur hatids the meatus to that eJ^^^-. Htjer remember, that in dressmaking, as 
in evcrijthing else, practice makes perfect. 



^cr/i ^ti. Me /irei-e ecca^nmea /m Ci^iencn fyT/.j^e/u 

ry &affeha ana ^{t/ena^ /zamfMm /^ yoei^ ana Ar/i 'ZMtneM 
ma^ it iJ t//g ja/ne, en eve^^ iej/iect, tnat 'ti'e aie 'fw^/^ t/jma^ 
ana naiJie ^een tiMna. m oul mMnej-j /cl tne /a.jt ten ^mU. 
c/ne amcmt/^ c/' dftcw/ee/ae ^cui .m.jtem mf/iaitj^ canned /aa/o 
/eneAt Tl^ieJdma/'fij, es/teaa/Zy /Ac^e ^me aie /iu.jt /eammna. 

Mosclicowitz cfc Russell . 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSONiTHE FIRST. 




Back.— Fig. 1. 

1. Draw a straight line down the centre of back from A to B. 

2. Draw a square line at the top from A to C. 

3. Measure with an inch tape from A to D i an inch, from A 
to E 3f inches, from A to F 6+ inches, from A to G 8f inches, 
from A to B 15 inches. 

4. Draw a line with the square from E to I, from F to J, 
from G to K, and from B to L. 

5. Measure with an inch tape 64 inches from E to I, 5f inches 
from F to J, 6i inches from G to K, and 4 inches from B to L. 

6. Measure from A to H If inches ; draw a line from D to H. 

7. Draw a line from point to point, as seen above. 

Note A.— Continue on this lesson until you are able to draft 
the back on any or all of the following twelve pages. They 
are all different. If you can draft one, you can draft the whole. 



1. 



Front.— Fig. 2. 

Draw a straight line down the front from A to B. 



3. Draw a square line along the top from A to C. 

3. Measure with an inch-tape from A to D 3 inches, from A 
to E 3i inches, from A to F 5J inches, from A to G 7f inches, 
from A to H 11 inches, from A to I 144 inches, from A to B 16 
inches. 

4. Draw a square line from D to K; measure from D to J 3} 
inches, from D to K 7f inches. 



5. Draw a square line from F to L ; measure 6^ inches. This 
measure is taken from the straight line in front, and not from 
the inside line running from X to W. 

6. Draw a square line from G to N ; measure from Q to M 
6i inches, from G to N 9 inches ; measure from the straight 
line in front, and not from the inside line running from X to W. 

7. Draw a square line from H to P ; measure from H to O 3| 
inches, from H to P 5 inches. 

8. Draw a square line from I to R; measure from I to R 10 
inches. 

9. Draw a straight line from B to V; measure from B to S 
U inches, from B to T 3i inches, from B to U 4 inches, from B 
to V 5f inches. 

10. Measure on top line from A to C 3J inches ; measure from 
E to W 4 an inch. 

11. Draw a line from point to point, as seen above; lower 
the Curve between M and N about i an inch. 

13. If any difficulty is experienced in making the darts a 
good shape, use the guide. It is better to draw all the lines 
without a guide. 

13. A small V is taken out of the front at X, which will be 
explained hereafter. 

Note B, — Continue at this lesson until you can draft any or 
all fronts on the following twelve pages. They are all dilfer- 
ent; but if you can draft one you can draft the whole. The 
two diagrams on page .5 are exactly the same as the above- 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE SECOND. 




30 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 30 inches around the bust, proceed the same as on page 
4, use the inch tape and the square; the figures indicate the inches, or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE THIRD. 




31 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 31 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE FOURTH. 




32 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 32 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE FIFTH. 




33 INCH BUST MEASURE. 



^To cut a plain waist for any person measuring 33 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
sliould be talien with the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH^SYSTEM OF DRAFTING. 



LESSON THE SIXTH. 




34 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 34 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



10 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE SEVENTH. 




35 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 35 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



11 



LESSON THE EIGHTH. 




36 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 36 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; tlie figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



12 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON" THE NINTH. 




37 INCH BUST MEASURE. 



To cut a plain waist for any pel-son measuring 37 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken witli the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



13 



LESSON THE TENTH. 




38 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 38 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



14 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE ELEVENTH. 




39 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 3D inches around the bust, proceed the same as on page 
4, use an inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should he taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



15 



LESSON THE TWELFTH. 




40 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 40 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. See No. C on page 17. 



16 



THE ENGLISH SYSTEM OF DRAFTING. 



LESSON THE THIRTEENTH. 




41 INCH •BUST MEASURE. 



To cut a plain waist for any person measuring 41 inches around the bust, proceed the same as on page 
4, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to liave them perfectly square with the front. See No. C on page 17. 



THE ENGLISH SYSTEM OF DRAFTING. 



17 



LESSON THE FOURTEENTH. 




42 INCH BUST MEASURE. 



To cut a plain waist for any person measuring 42 inches around the bust, proceed the same as on page 
6, use the inch tape and the square ; the figures indicate the inches or distance from point to point. Care 
should be taken with the cross lines to have them perfectly square with the front. 

Note C— "We furnish with this lesson free of charge thirteen plain waist patterns cut by the foregoing 
thirteen diagrams, from 30 to 42 inches bust measures. The object of these patterns is to enable you to make 
comparison. Any size of pattern you draft should be the same as the corresponding size of the pattern 
given. Each pattern has a number of holes or perforations at the shoulder ; these perforations indicate the 
size of each pattern, thus : 



30 Bust 

31 Bust 

32 Bust 

33 Bust 

34 Bust 

35 Bust 

36 Bust 



Measure 
Measure 
Measure 
Measure 
Measure 
measure 
Measure 



no holes. 

1 hole. 

2 holes. 

3 holes. 

4 holes. 

5 holes. 

6 holes. 



37 Bust Measure 

38 Bust Measure 

39 Bust Measure 

40 Bust Measure 

41 Bust Measure 

42 Bust Measure 



7 holes. 

8 holes. 

9 holes. 

10 holes. 

11 holes. 

12 holes, 



18 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE FIFTEENTH. 




The first fourteen lessons are intended to show the system of drafting the plain waist. The following 
nine lessons are intended to show where alterations are to be made. 



DIRECTIONS FOR TAKING THE MEASURE. 




Take six measures as follows : Pass a tape-measure around the breast just under the arms and above 
the bust, as seen above ; draw it one inch tighter than the drem is to fit, the number of inches then ascer- 
tained is the size of the bust. The measure should be taken over the dress. 

A second bust measure should be taken in the same way, but, over the bust at A, instead of above 
the bust; always cut by, or use the measure above the bnst; this n;le must be strictly adhered to in every 
lesson throughout the following pages. The object of the second measure is to ascertain the amount of 
fullness to be allowed over the bust, and has nothing to do witli the size of the garment. Take the follow- 
ing measures: 

First. — The measure above the bust as seen above. 

Second. — The measure over the bust at A. 

Third. — The measure around the waist under the belt. 

Fourth. — The length of waist under the arm. 

Fifth. ^The length of back from neck to waist. 

Sixth — The length of front from throat to waist. 



THE ENGLISH SYSTEM OF CUTTING. 



19 



LESSON THE FIFTEENTH.-Continiied. 




The above diagram represents a plain waist with seams nuiniiig to the arm-hole. The side seam 
should be cut so as to throw a rounding fullness over the shoulder blades. This is done by cutting about 
half an inch off the top of the side piece as represented by the dotted line on the back The shape of the 
side seam is a matter of taste or fashion. If you cannot draw the curve or side seam without a guide, 
make one from stiff paper or pasteboard ; also make a guide for the darts and shoulder seams, back and 
front. 

To ascertain the size around the waist, measure with an inch-tape as shown above. The diagram 
represents a plain waist, with little or no fullness over the bust. The front edge is nearly straight ; this 
part will be explained more fully hei'eafter. 

In all cases the size around the waist, as well as the length of waist, should be measured with an 
inch-tape, to ascertain the exact size and lengtli. This rule should lie carefully adhered to in all cases 
where such measures are re<|nired. 



20 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE SIXTEENTH. 




ONE INCH FULL BUST. 



In taking the two measures, the one above the bust, the other over tlie bust, it will be found that in 
a well proportioned iigure the measure over the bust will be from one to two inches larger than the measure 
above the bust. It is necessary to have extra fullness for an extra large bust. If the two measures over and 
above the bust are the same, cut the waist straight in front, or exactly the same as shown on page 19. If 
the measure over the bust is one inch larger than the measure above the bust, allow half an inch in front, 
as seen by the dotted line above, also diminish the size around the neck, at the throat, a quarter of ail 
inch, as the dotted line indicates. For an inch full bust, add half an inch to the front, take a V out a little 
above the darts ; when the V is sewed up, the front edge will be straight. The V should be taken out of 
the lining only. The back should be cut the same as on page 18. See Note A on page 23. 

To draft the waist pattern, as above, first take the measures as directed on page 18 ; proceed to draft 
a plain waist, as seen on pages 8 and 9 ; cut by the bust measure, that is, the measure about the bust. 
After the waist is drafted out, and before it is cut, make the necessary alterations,''as seen by the dotted 
lines above. 



THE ENGLISH SYSTEM OF CUTTING. 



21 



LESSON THE SEVENTEENTH. 




TWO INCHES FULL BUST. 



When the measure over the bust is two inches more than the measure above the bust, extra fullness 
must be allowed, and at the same time the front edge should be kept straight. Add to the front an inch 
in the direction of the dotted lines ; reduce the size of the neck half an inch at the throat ; a V should be 
cut out of the front edge of the lining only ; when sewed up, the front edge should be perfectly straight ; 
the line from the V to the waist should run straight with the front edge. The darts should be brought 
forward to give better shape and position to the waist. See Note A on page 23. 

To draft the waist pattern, as above, first take the measures as directed on page 18 ; proceed to draft 
a plain waist, as seen on pages 8 and 9 ; cut by the bust measure, that is, the measure about the bust. 
After the waist is drafted out, and before it is cut, make the necessary alterations, as seen by the dotted 
lines above. 



99 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE EIGHTEENTH. 




THREE INCH FULL BUST. 



When the measure over the bust is three inches larger than the measure above the bust, extra care 
aud attention must be given to the entire dress, not only in front, but other parts of the dress which are 
liable to be affected by an extra full bust (see page 23.) Proceed with this the same as directed on page 
21, except allow one and a half inches in front and half an inch to be taken off the size around the neck at 
the throat, add from one to two inches to the length of the waist, as shown by the dotted lines ; the V and 
fullness in front should be treated the same as on page 23. 

To draft the waist pattern, as above, first take the measures as directed on page 18, proceed to draft 
a plain waist, as seen on pages 8 and !> ; cut by the bust measure, that is, the measure about the bust. After 
the waist is drafted out, and before it is cut, make the necessary alterations, as seen by the dotted lines above. 



THE ENGLISH SYSTEM OF CUTTING. 



9?. 



LESSON THE NINETEENTH. 




SHORT, STOUT, THICK-SET PERSON WITH VERY FULL BUST. 

Take the measure the same as for a plain waist, see page IS ; draft out the pattern by the bust meas- 
ure ; the second bust measure may be from one to four inches larger than the measure above the bust ; the 
measure above the bust only is to be used in drafting ; no matter how large the second bust may be, draft 
the waist the same as for a plain bust, as seen on pages 8 and 9. When the plain waist is drafted out, 
make the necessary alteration for the full bust, as shown by the dotted lines above. If the bust measure 
is three inches larger than the measure above the bust, allow 1^ inches in front. If only two inches larger, 
allow one inch in front; if but one inch larger, allow ^ an inch in front. The shoulder seam is shortened 
1^ inches; the neck is f of an inch smaller at the throat. The darts are brought forward, and f of an inch 
is cut away from the centre of back at the waist, to enlarge the waist. See dotted lines at the seams under 
the arms. 

To draft the waist pattern, as above, first take the measures as directed on page 18; proceed to 
draft a plain waist as seen on pages 8 and 9 ; cut by the bust measure, that is the measure about the bast. 
After the waist is drafted out, and before it is cut, make the necessary alterations as seen by the dotted 
lines above. 



Note. — The fullness arising from the V in front should be pressed towards the arm-hole. This is done by placing the full 
part over a round block or cushion, and pressing with a hot iron, the fullness towards the arm hole. The outside material should 
be treated in the same way, only with more care. The front edge of the material should not be cut, but drawn in or shrunk, and the 
part over the bust should be stretched until it is quite rounding. In loose fabrics there is no difficulty in giving fullness, but in 
silks, satins, velvets, etc., it requires more care and experience. A silk dress requires two hours' work to prepare it properly for a 
full bust. Silk and velvet should not be pressed with a hot iron, but drawn and twisted over a hot, damp block, or drawn over the 
face of a hot iron. 



24 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE TWENTIETH. 




ROUND SHOULDERS. 



To cut a waist to fit a round shouldered figure, first draft out a plain waist according to the measure. 
The plain lines on the above diagram show the plain waist. The dotted lines show where the alterations 
are to be made. The top of the back should be raised one and a quarter inches, the back should be half 
an inch wider, and one inch cut out at A ; the other alterations will be seen by the dotted lines ; the front 
should be shorter and the back longer ; the rounding part over the shoulder blades should be pressed 
towards the seam under the arm with a hot iron ; this is to remove the appearance of round shoulders, and 
at the same time give suificient material over the rounding part. When cutting and fitting by the French 
System, all deformities or irregular shapes will be detected at once. 

To draft the waist pattern, as above, first take the measures as directed on page 18 ; proceed to draft 
a plain waist, as seen on pages 8 and 9 ; cut by the bust measure, that is, the measure about the bust. After 
the waist is drafted out, and before it is cut, make the necessary alterations, as seen by the dotted lines above. 



THE ENGLISH SYSTEM OF CUITTNG. 



)iO 



LESSON THE TWENTY-FIRST. 




VERY STRAIG-HT, ERECT FIGURE. 



The dotted lines on the above diagram show where alterations are to be made for a straight, erect 
figure. The side seam on the back has little or no rounding fullness over the shoulder blades ; the centre 
of the back, near the waist, is taken in half an inch ; the top of the back is cut off half an inch, and made 
narrower across the centre ; tlie shoulder point, in front, is carried up and thrown back three-quarters of 
an inch, all of which are indicated by the dotted lines. • 

To draft the waist pattern, as above, first take the measure as directed on page 18 ; proceed to draft a 
plain waist, as seen on pages 8 and 9. Cut by the bust measure, that is, the measure about the bust. After 
the waist is drafted out, and before it is cut, make the necessary alterations^ as seen by the dotted lines above. 



26 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE TWENTY-SECOND. 




A TALL, SLIM FIGURE. 



The alteration to be made for a tall slim figure is shown by the dotted lines on the above diagram. 
The shoulder seam, back and front, is made larger at the neck ; the waist is made longer; the length of 
shoulder is the principal point to be cared for. If the neck is long and the body short, make the altera- 
tions on the shoulder and top of back only. 

To draft the waist pattern, as above, first fake the measures as directed on page 18, proceed to drafl 
a plain waist as seen on pages 8 and 1>, cut by the bust measure, that is, the measure above the bust. After 
the waist is drafted out, and before it is cut make the necessary alterations, as seen by the dotted lines 
above. 



THE ENGLISH SYSTEM OF CUTTING. 



27 



LESSON THE TWENTY-THIRD. 




TO ALTER THE SHOULDER SEAMS. 



In cutting Cloaks, Sacques, Jackets, etc., the shoulder seam should be raised to come nearly on 
the top of the shoulder. See dotted lines above. Add one inch or naore to the back, at the shoulder 
seam. Take the same amount from the corresponding place on tlie front. When it is necessary to 
make the shoulder seam shorter, cut from tlie arm-hole, back and front, as seen by the dotted lines above. 

To draft the waist pattern, as above, tirst take the measures as directed on page 18. Proceed to 
draft a plain waist, as seen on pages 8 and 9. Cut by the bust measure, that is, the measure about 
the bust. After the waist is drafted out, and before it is cut, make the necessary alterations, as seen 
by the dotted lines above. 



28 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE TWENTY-FOURTH. 




TO CUT A BASQUE OR POLONAISE, WITH SEAMS RUNNING- TO THE ARM-HOLE. 



You are supposed to thoroughly understand the cutting of the plain waist before commencing this 
lesson. If so, you will have little or no difficulty in understanding the following instructions. 

To cut a Basque or Polonaise, take the four measures as directed on page 18, draft out a paper pattern 
by the bust measure ; when the pattern is drafted out and cut, join the back and front together, as seen 
above. P P represents the joining of the seams under the arm ; when the pattern is thus joined, cut two 
seams or more under the arm, or cut the pattern in four separate pieces, A, B, C, D, as seen above. Turn 
to pages 30 and 31, and you will see these pieces reproduced, and each piece. A, B, C and D, laid in 
positions to cut a Basque. Turn again to pages 32 and 33, and you will see this piece again reproduced in 
positions to cut a Polonaise. The Polonaise and Basque are sometimes cut with three and foiir pieces 
under the arm ; this, however, is more a matter of taste than utility. A little practice will enable you to 
cut a Basque or Polonaise in an incredible short time. This will be explained more fully on pages 38, 
39, 40 and 41. 



THE ENGLISH SYSTEM OF CUTTINa 



29 



LESSON THE T'WENTY-FIFTH. 




TO CUT A BASQUE OR POLONAISE WITH SEAMS RUNNING TO THE SHOULDER. 



You are supposed to understand all the foregoing lessons before commencing this. If so, you will 
have no difficulty in understanding all that is to follow. Take four measures, same as directed on page 
18 ; cut a plain waist by the bust measures, (do not cut a side seam) when the pattern is cut join the 
front and back together, at the seam under the arms, as seen above ; separate the pattern into four pieces 
by cutting the two seams under the arms, and the back ^eam running to the shoulder. Turn to 
page 32, and you will see the two back pieces reproduced, and placed in positions to cut a polonaise; the 
front is cut the same as on page 33. The same rule applies to Basques as to Polonaise. When the back 
seam is run to the shoulder, see that the dotted lines are carefully followed ; the seam should be a little 
rounding over the shoulder blade, to do this the inside piece should be raised and cut away half an inch at 
the top, and the shoulder seam extended. See dotted lines above. PP shows where the back and front are 
joined ; five, and sometimes seven seams are cut in the back. The same principle applies to all. The object 
of a rounding seam on the back is to throw fullness over the shoulder blades. This will be explained more 
fully hereafter. 



30 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE TWENTY-SIXTH. 




TO CUT A BASQUE WITH SEAMS RUNNING TO THE ARM-HOLE. 

Take the measures the same as directed on j^age IS. AVlieii tlie plain waist is cut, divide the pattern 
into four pieces, A, B, C and D, as shown on page 28. Lay each piece of the pattern separately on paper 
from which to cut a new pattern. These pieces are represented on the above diagram. A, B, C and D ; 
add the length of skirt required as seen above. The figures represent inches; the back is 9 inches long, 
and the bottom -ii inches wide. 

The measure .should be taken around the hips for the width of skirt. Make the bottom of the skirt 
from 2 to 4 inches larger than the actual measurement. For a medium sized l§,dy the width would be 
about 4^ inches at the back and 5 inches at the side as seen above. The proper spring over the hips can 
only be determined by the French System, which will be explained hereafter. See pages 38 to 41. 



THE ENGLISH SYSTEM OF CUTTING. 



31 



LESSON THE TWENTY-SIXTH -Continued. 




BASQUE WITH SEAMS RUNNING- TO THE ARM-HOLES. 
The front of the Basque is cut on the same principle that has just been explained for the back; 
add to the waist the length of skirt required. The tigures on the lower edge of the above diagram 
represent inches, and gives the width round the bottom ; the iigure S in front is the length from the 
waist down. It only requires a little practice to change the skirt to any shajie or form of basque required. 
To cut a double-breasted basque, or a basque with re vers, add to the front the shape and style desired. 
The dotted lines show the alterations or changes to be made from the ])lain waist to tlie basque. See 
pages 38 to 4 1. 



32 



THE ENGLISH SYSTEM OF CUTTING. 



LESSON THE TWENTY-SEVENTH. 




TO CUT A POLONAISE WITH SEAMS RUNNING TO THE ARM-HOLE. 

This style of Polonaise is cut in every way the same as if cutting a Basque, such as we have described on 
pages 30 and 31. 

The skirt of a Polonaise is simply the continuation of the skirt of a Basque ; the only difference is, it 
should be longer and fuller, according to the amount of drajiing required. 

The Princess Dress is cut in the same way, except at the bottom of the [skirt. The Pi'inceas Dress is a 



THE ENGLISH SYSTEM OF CUTTING. 



33 



LESSON THE TWENTY-SEVENTH.-Continiied. 




garment complete in itself. The train may be 10 or 30 inches long, according to the taste of the wearer. The 
Polonaise is made short so as to show the underskirt ; care should be taken to give fullness over the hips at the 
points marked 0, P, Q, R, S, T, and A, B, C and D. The fullness over the hips will be explained hereafter. 

TO CUT A POLONAISE WITH SEAMS RUNNING TO THE SHOULDER. 

Turn to juige 29 and }'t)U will see a jilaiu waist divided into four parts. The back se;ini runs to the shoulder. 
This style of Polonaise is cut in every way the same as a Basfj^ue ; the skirt of the Polonaise is a continuation 
of the Basque. 



34 



THE FRENCH SYSTEM OF BASTING. 




THE FRENCH SYSTEM OF BASTING. 35 

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38 



THE FRENCH SYSTEM OF CUTTING. 



LESSON THE THIRTIETH. 




FRENCH SYSTEM-FIRST LESSON. 

The first part of this book explains the Englisli System of drafting and cutting by measure. 
We have now to explain the French System of ciitting. We will begin at the beginning, and try to 
explain in detail, so that no one, not even the most inexperienced, need fear a failure. The French 
dressmaker, before starting business, procures for herself a complete set of plain waist patterns. These 
patterns must be exact ; they must be perfect. They are all she wants, and all she requires. She makes 
these patterns a study, until she masters every detail, and can handle each and every size with perfect 
freedom and confidence. From these she is able to cut anything and everything, and such cntting and 
fitting is seldom seen outside of Paris, except by those who use the same system, and handle it with the 
same skill. It is a knowledge of how to use these patterns that we are now about to describe, and in 
which consists the French System of cutting. 



FIRST STEP IN CUTTING- A BASQUE. 

You are supposed to be provided with a complete set of plain waist patterns in all sizes. To 
cut a Basque, take the measure as directed ; select a waist pattern to correspond to the bust measure, that 
is the measure above the l)ust. From this pattern cut another ; or, rather, draw it out on paper, as seen 
in Fig. No. 1. Place the back and front together, and mark with a pencil all round the edge of the 
pattern ; but do not allow the seam under. the arm to appear on the paper; all that is to be seen is simply 
the pencil mark round the edge and darts. 



THE FRENCH SYSTEM OF CUTTING. 



39 



LESSON THE THIRTIETH.-Continned. 




SECOND STEP IN CUTTING A BASQUE. 



When the pattern is marked out on paper as described in Fig. 1, cut the pattern in four pieces, 
2, 3, 4 and 5, as seen above. These pieces are to be cut with some degree of taste. The side seam on 
the back may be cut by a guide. The width of each piece at the waist is a matter of taste and fashion. 
It is better to keep as near as possible to the above diagram, or until you have more experience, and 
can change the position of any seam with safety. Before cutting the pattern, get the exact length 
of back and front, and size round the waist, so that no alterations will require to be made in the pattern 
hereafter. If the pattern is too long or too short in the back or front, lengthen or shorten as the case may 
be. If too small or too large round the waist, add or diminish at the darts and the two front seams under 
the arm ; that is, cut this pattern exact to the measure, as it is intended to fit. 



40 



THE FRENCH SYSTEM OF CUTTING. 



LESSON THE THIRTIETH.-Continned. 




THIRD STEP IN CUTTING A BASQUE. 



When the waist pattern has been cut and separated into four pieces as described on page 39, place each separate piece, 
A, B, C, D, as seen above, on a large sheet of paper, and mark with a pencil all round the edge, when so marked remove the 
pattern, and add to the waist the length of skirt required. Care should be taken to make the waist the proper length and shape. 
If you have any difficulty in giving the right shape to the skirt, take a rule, or straight edge, and draw the straight lines as seen 
above .on diagrams A and B, draw a line from H to rt. If you wish more spring, draw the Hue from J to G ; if still more spring 
is wanted, draw the line from K to G. The size and shape of the darts should be in proportion to the size and shape of the 
person to be fitted ; for a well proportioned figure the width in front should be as follows : at W, U inches, at X, U inches, at 
Y. f and at Z, 3 inches. For the width near the bottom at 3, 3, 5, 7, 9 and 13, (see pages 30 and 31.) Until you have experience, you 
should practice and cut from paper only. When you have experience, cut the lining which should be of white or light colored 
material. Caution.— In cutting the lining, you must allow for seams and laps everywhere, except round the arm-holes. To find 
the spring at 7 and 8, draw a straight line from F to O and from S to N. Continued on page 51. [Page 40. 



THE FRENCH SYSTEM OF CUTTING. 



41 



LESSON THE THIRTIETH -Continued. 




THIRD STEP IN CUTTING A BASQUE. 



The back and side pieces D and C as shown above are to be cut in the same manner as the front pieces 
A and B. Draw a straight line from Q to K, this will give the proper spring to the skirt, the line at 10 may 
be drawn without a guide as it is almost straight. The line from P to T will give the spring for the back skirt, 
and the lines from U to V the spring for the side. You will observe that Q is placed below F about one- 
(juarter of the whole length between F and E, and U is placed above T about one-quarter of the distance 
between T and M. It will be well to remember these points. It requires time and experience to cut a Basque 
perfectly. Ever remember, that practice makes perfect, it may take three hours to cut the first, two hours 
to cut the second, one hour to cut the third, and so on until you can cut a Basque in ten minutes. Let your 
first efforts be with good figures and plain Basques. Any shape or style of Basque can be cut from the plain 
waist ijattern. Continued on page 51. rpao-e 41 



42 



THE FRENCH SYSTEM OF CUTTING. 



LESSON THE THIRTY-FIRST. 




POLONAISE, WITH SEAMS RUNNING TO THE ARM-HOL,E. 

The Polonaise is cut, in every way, the same- as a Basque ; the skirt is made larger and wider, as the 
draping may require. The dotted lines (), P, Q and R, are a continuation of the skirts of the Basque ; the 
figures 1 to 8 correspond with the figures on the guides ; these seams are drawn by the guides the same as 
in cutting a Basque. For explanations see pages 40 and 41. The front and side piece A and B, represented 
above, are parts of the plain waist pattern from which the Polonaise is cut. 



THE FRENCH SYSTEM OF CUTTING. 



4y 



LESSON THE THIRTY-FIRST.-Contimied. 




POLONAISE, WITH SEAMS RUNNING TO THE ARM-HOLE. 

The back and side piece for Polonaise is cut the same as for a Basque. The dotted lines T, U, Y, W, 
are a continuation of the Basque lines ; the figures 9, 10, 11 and 12, correspond to the figures in the guides. 
For explanations see pages 41 and 42. The two pieces D and C, are parts of the plain waist pattern from 
which the Polonaise is cut ; simply add to the waist the length of skirt required. 



44 



THE FRENCH SYSTEM OF CUTTING. 










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THE FRENCH SYSTEM OF CUTTING. 45 



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46 



THE FRENCH SYSTEM OF CUTTING. 






No. 1. 



No 2. 



CUT-AWAY JACKET OR COAT. 



Tlie above engravings, Nos. 1 and 2, represent two different styles of the Cut-away Jacket or 
Coat for Ladies. The left hand figure represents a vest which is worn separately with these coats. 
There is no garment worn by ladies that is more difficult to fit or make than this style of jacket. Wlien 
cut, fitted, and made properly, they are becoming and stylisii ; otherwise they are a mortification to the 
wearer, and a disgrace to the maker. When made from heavy material, sucli as beaver cloth, tliey should 
be cut and made by a tailor or man dressmaker. To cut this garment, use the basque pattern, as 
rei)resented on pages iO and -il. Cut the waist 1^ inches longer than you would for an ordinary basque. 
Give exti'a spring to the seams below the waist. These coats are usually cut with one dart in front, 
and one seam under the arm ; the side seam should run to the armhole and not to the shoulder seam. 
Cut the skirt as represented above. The vest which is worn under the coat is cut the .same as a basque, 
without sleeves. The back of the vest is made from cambric or silesia. If you are a beginner, the best 
instruction we can give you is not to cut or attempt to make these coats until you have an experience that 
will warrant you to do so. Fig. 1 represents a single-breasted jacket. To make this double-breasted, add 
to the front about two inches, as seen on fig. 2. The dotted line D, on fig. 1, shows where the skirt may 
be cut or turned in to show the vest. A pleat should be made in the skirt at C ; this part should be held a 
quarter of an inch full on the back ; the seams at A and B should be stretched fully half an inch. For 
making and sewing the seams see directions on page 36. 



THE FRENCH SYSTEM OF CUTTING. 47 



In dressmaking , as in all other branches of sewing, it is 
important that particular attention is paid to the selection 
of thread. Jfever use what is called cheap thread, not even 
for basting ; the best is the cheapest. Use a six-cord soft-finish 
thread for basting and sewing. We use Clark's 0. JV. T. Spool 
Cotton for all purposes. We consider it superior for dress- 
making. The beautiful shades in all the neiv colors, as well 
as the white and black, are for sale at all the stores, so that 
dressmakers and others will have no difficulty in findiny it. 
The letters, 0. JV. T. are printed on the end of each spool. We 
write this article without the knowledge or consent of the pro- 
prietor, and believe all dressmakers using the 0. JV. T. will 
endorse our recommendation. 



48 



THE FRENCH SYSTEM OF CUTTING. 



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THE FRKNCII SYSTEM OP CUTTING AM) FITTIN(K 



49 



THE SLEEYE.— Continued. 



Fig. a— FREiSrCH SLEEVE 

The French sleeve is to be used only in tight-fitting 
body garments, siuli as Basques, Polonaise, etc. Begin- 
ners should not atlenipt to use this sleeve until they are 
well advanced in cutting. The under part of the sleeve 
IS cut narrow so that the back seam will come directly 
under the arm ; the upper part is cut nearly two inches 
longer on the back seam than the under part ; this is 
fulled in at the elbow between the notches. When this 
sleeve is jn'operly made it will fit like a glove on the arm, 
tight and smooth from top to bottom. The fullness should 
be exactly at the point of the elbow. The top of the 
sleeve should be cut less than two inches larger than the 
arm-hole, and held full on the most rounding part. We 
furnish three patterns for this sleeve. They are cut fcr 
small, medium, and large sizes ; each pattern is in two 
pieces, under and upper part. To make this sleeve larger 
or smaller add or diminish equally at the front and back 
arm seam, the shape of the arm and size of the arm-hole 
is the guide for the size of the sleeve. The top of the 
sleeve should not be altered. See Fig. A. page 48 ; also 
see Note A, page id. 

Pig. 25.— ENGLISH SLEEVE. 

Fig. 25 illustrates the English sleeve. This sleeve 
should be used tor all kinds of tight body garments, 
such as Polonaise, Basques, etc. The top should be cut 
two inches larger than the arm-hole ; the fullness should 
be gathered between the stars ; the double row of stars 
show where the most fullness should be placed. If the 
sleeve is too full, lay a small jileat under the arm at il. 
It is better, however, to cut the sleeve the e.xact size 
wanted. To make a tight sleeve measure the arm at D 
and E ; cut the sleeve one inch w-ider than a tight 
measure ; should the sleeve wrinkle across the arm, 
between C and D, it is caused by the point at C being 
too high or too low in the arm-hole, or the toi), at N, is 
not rounding enough. That part of the sleeve at O P 
Q .sliould be sewed quite plain. The sleeve should be cut 
so that the elbow will be exactly in the right place. In 
all tight fitting sleeves the space between P & C should be 
stretched about one-half an inch. We furnish three 
liatterns of this sleeve for small, medium and large sizes. 
The sleeve can be made larger or smaller by adding or 
diminishing at the l)ack and front seams ; the top or 
rounding part should not be altered. See Fig. 25, 
page 48. 

Fig. 24.— PLAIN SLEEVE. 

The plain sleeve, as illustrated by Fig. 24. should be 
used for Sacks, Cloaks, Ulsters, and all kinds of heavy 
outside garments. The sleeve at the top should be cut 
two inches larger than the arm-hole, and gathered or 
sewed full between the stars ; most of the fullness should 
be placed between the double row of stars. The sleeve 
at .7 and K should be sewed quite pilain. If the sleeve is 
too large for the armhole, lay a pleat in the under sleeve 
at L. We fui-nish three sleeve patterns of this sleeve, for 
small, medium and large sizes. If a larger or smaller 
sleeve is wanted, enlarge or diminish the size eijually, 
back and front. Do not alter the toji. Care should be 
taken to cut the sleeve the exact size wanted for the 
■ivm-hole. See Fig. 24, page 48. 

THE SLEEVE. 

How often do we see the entire dress disfigured by a 
baggy or strained sleeve ; and the owner is continually 
reminded of its faults by discomfort in wearing. There 
is not one dres.smaker in ten, probably not one in twenty, 
that understands cutting, making, fitting, and sewing in 
a sleeve proi)erly. This defect is largely attributed to 
the use of one sleeve pattern for all kinds of garments. If 
the garment is made from heavy material, very little 
fullness will be required on the top of the sleeve. Cash- 
mere and alapaca require more fullness at the top than 
silk, and beaver cloth least of all. If there is any one 
thing in dre.s.smakiug in which the French excel, it "is in 
fitting the sleeve, and much of their success la_ys in pre- 
paring the sleeve for the arm-hole, and the arm-hole for 
the sleeve. 



DIRECTIONS. 

Cut three sleeve patterns, small, medium and large for 
each style of sleeve you want to use ; from each of the 
patterns cut a cloth model, sew the seams and mark the 
size on each model to correspond with the pattern from 
which it was cut, the models should be cut from light 
colored selica or soft bleached muslin ; th3se are called 
sleeve models. To fit the sleeve, select a sleeve model to 
correspond in size to the bust measure ; fit the sleeve on 
the arm, pin the top of sleeve to the model waist lining, 
place the pins an inch apart ; raise the arm, bend it 
forward ; if the sleeve draws at the elbow or across the 
top, change the position of the sleeve until it fits perfectly. 
Cut a notch in the arm-hole of the model waist exactly 
where each seam of the sleeve is placed ; also, cut two 
notches on the top to show where the fullness is to be 
placed. If the sleeve is too wide, pin to the size wanted 
— see that the elbow is in the right place. The sleeve 
should be cut the same as the model waist , transfer the 
impression to the lining. See page 52. In fitting a 
Polonaise, Basque, or any tight-fitting garment, use the 
French or English sleeve. In fitting a Sack, Cloak, or 
Ulster, use sleeve jxittern fig. 24. 

The fitting, making, and sewing in the sleeve is one 
of the most difficult tasks a dressmaker has to contend 
with, not when she sews it in herself, but when entrusted 
to inexperienced bauds. The sleeve should be prepared 
for the arm-hole, and the arm-hole for the sleeve. Cut 
the lining for the sleeve exactly like the outside, taking 
care that you do not cut two pieces for the same arm. 
Baste the pieces together, stitch them up and overcast 
the seams. For wash goods a neater way and one in 
which seams are hidden altogether, is this : Baste the 
lining, under and upper together, and the outside, under 
and upper together. Then baste the two parts, lining and 
outside together. When the seams are sewed, turn the 
sleeve, and everything is finished, inside and out. When 
dresses are cut very high on the shoulder, the top of a 
sleeve must be very rounding to correspond, and care 
is required in putting it in. Lay the sleeve so that the 
most rounding part comes directly on the top of the 
shoulder, and sew it in full across the top without 
gathering. This will prevent a strain across the arm, 
which is exceedingly uncomfortable as well as inelegant. 
It it is necessary to cut anything from the length of the 
shoulder, that same amount must be added to the top of 
the sleeve, making it more rounding. Wrinkles across 
the top of the sleeve or in front, are caused either by the 
top not being roimding enough, or the seam at the front 
of the arm is too low or too high. This will be remedied 
in fitting the model sleeve, which cannot be done in any 
other wa}', except by fitting the sleeve itself. 

The French sleeve should be made and fitted with great 
care. The fullness at the elbow should be gathered evenly 
between the notches and the point of the elbow, exactly 
at the centre of the fullness. The fullness at the top 
sliould be the same as in the English sleeve. If you 
can afford the expense cut the model sleeves from silk 
or some soft material that will yield to the movement of 
the arm. The sleeve should be finished before it is sewed 
in, overcast the top lining and material together, stitches 
four to the inch, gather the top or rounding part for the 
fullness, with short stitches, say eight to the inch, the top 
of the sleeve when gathered should be the exact size of 
the arm-hole. 

It is always safer to fit the sleeve to the arm before it 
is sewed in, it is not necessary to fit it on the person for 
whom it is made — select any person near to the size. 
All that is necessary in this "fitting is to get the fullness 
in tlie proper place ; with more experience this fitting will 
not be necessary. 

Note A. — If the arm is small, thin, or boney, an 
inter-lining should be made for the sleeve, and one or two 
thicknesses of wadding placed between it and the lining ; 
the wadding should be tacked with stitches an inch apart. 
If an inter-lining is not wanted the wadding may be 
tacked on the lining. The French sleeve should be used 
only for a fat, plump, round arm. 

Note B. — We furnish with this lesson nine sleeve 
patterns as described above ; these are intended for model 
patterns, to be used in cutting the various styles ; with a 
little experience you will be able to change the sleeve to 
suit any particular shai)e. 



50 



THE FRENCH SYSTEM OF CUTTING AND FITTING. 



LOOPING. 

In the proper looping of the surplus length and fullness 
in the overskirts, polonaises, and draper}' of trained skirts, 
consists the grace and beauty of dresses, and in no part of 
a dress is the master hand more perceptible than here. 
Yet, it is not possible to give more than a few general 
directions on this subject, for it all depends on the artistic 
perception of the dressmaker, of what is fit and what is 
graceful. To the beginner we would advise, that she get 
a lay figure and provide herself with about two yards in 
length and one and a half in width, of some soft and 
pliable material, merino, for instance, or even common 
cheese cloth, which, however, must be washed so as to 
render it soft, tliat it may fall into perfectly graceful folds, 
and then adjust the upper part of this to the waist of the 
figure in so many pleats as would be necessar}' if it were 
tlie back part of an overskirt. Then let her take a reliable 
fashion book, and a p.aper of jiins, and cliosing a simply 
drajied skirt as a model, proceed to loop tlie skirt into the 
same folds. She will not be apt to succeed at the first 
trial, nor for many more, but at last she will have looped 
her drapery like the model. After three or four successes 
of this kind she will have learned what nothing but 
experience could teach her. 

If at any time she should feel weary or nervous over 
her lack of success, let her leave oS at once for the day 
and work at something else, and try again, when rested, 
and again till success crowns her efforts. The looping of 
all drapery is on the same general principles, and if one 
possesses taste and an artistic eye for the harmonies, and 
perseverance to practice and learn, that person is on the 
sure road to success. There is no limit to the different 
effects that can lie ]iroduced by changes in the looping of 
dresses. As a rule, the simpler the draping the more 
graceful the effect. 



WHALEBONES. 



On the careful usage of whalebone depends much of 
the fit and grace of a waist ; every garment that is 
close-fitting needs whalebones in every seam except th<' 
two side seams that are next the middle of the back. To 
be jierfect, the bones should be of the best(|uahty, flexilile 
and straight. They should be about eight inches long and 
both ends sliould be rounded and scraped down to the 
thickness of a knife blade, otherwise they will show on 
the outside of the waist. The middle should be thick. If 
not thick enough two may be placed together and well 
fastened by winding them with tliread. Tlie casings are 
best when made of two jiieces of tape sewed together and 
the bone run inside. The ends of the tapes can be then 
tiu'ned over and the needle passed througli Die ends of the 
bones and tape .several times, after wliich the ta|ied bones 
can be sewed to the seams which should be laid open, 
taking about six or eight si itches to the inch. This is both 
a saving of labor and a great advantage in the fit and 
stabilit}' of the waist. The I'cason of jjaring the bones at 
the ends is to render them supple where tliey should be, 
and to throw all llie force to the waist line wliere all the 
strain comes, and no dressmaker will need to be lold twice 
to comprehend its advantages. The bones should extend 
five inches above the waist, and three inches below the 
waist ; the bone in centre of b.-ick should be three thick- 
nesses at the waist, and gradually taper off Id nothing, five 
inches above and three inches below the waist ; for sto\it 
jKTSons all the whalebones at the waist should be three 
thicknesses, tapering off to nothing at both ends. 



SKIRTS. 

There are four styles of skirts in common use, the 
Walking Skirt, the Demi-Train Skirt, the Train Skirt, 
and the Court Train Skirt. 

The Walking Skirt is made short. Tlie front will 
touch the instep, tlie back just clears the gi'ouud. 

The Demi-Train Skirt just escapes the ground in front. 
The back has a train from tliive to six ineiies. 

The Train Skirt just clears the ground in front, while 



the back has a train varying in length from twelve to 
thirty inches. 

The Court Train Skirt. — The front touches the instep 
or is short enough to show the embroidered shoe. The 
train is either scpiare or fan shaped, extending sixty inches 
on the ground. 

The Walking Skirt is cut in four pieces, one front, and 
one back widlli, and two side pieces. These should be 
sloped at the top to give a rounding fullness over the hips. 
Where the lady is corpulent a v should be taken out of 
the two side pieces at the top and the front widths cut 
rounding at the top. 

The Demi-Train Skirt should be cut in six pieces, one 
front and one back width, and four side pieces. Each 
gore or side piece should be sloped at the top .so as to 
throw the fullness over the hips. If the person is .slim 
two side pieces will answer instead of four. 

The Train Skirt should invariably be cut with si.x 
pieces, one front, one back width, and four side pieces. 
These should be slooped at the top and each width should 
grow wider as tliey extend towards the liottom. 

The train of a skirt when cut in four widllis is liable to 
have the train roll instead of spreading as a train should. 
The width of skirt at the bottom should be as follows : 

Walking Skii't, 90 inches. 

Demi-Train, 110 inches. 

Train, 140 inches. 

One cause of ill-fitting Train and Demi-Train skirts 
is in having two side pieces instead of four. In plain, 
well-iiroportioned figures the top of front and side widths 
should be cut straight across. In stout or corpulent ones 
the to|i of fnjnt widths should l)e rounded so as to allow 
the skirt to hang gracefully in front. 

In the cutting of the skirt of a dress there are certain 
principles from which one cannot deviate without destroy- 
ing the beauty of the entire garment, and tliough they are 
so simple it is jilain that they are not understood by the 
majority of dressmakers. 



DOLMANS. 

.V Dolman is at once the most graceful and stylish of 
"\\'raps, and the most difficult to make, and our advice to 
lieginners would be to let Dolmans alone, but as they will 
be'called upon to both cut and make them, we can only 
give a word of caution upon the points requiring the most 
attention. 

Dolmans belong to that class of out-door garments 
which come under" the head of Wraps. To fit perfectly 
they should hang lightly from the shoulders, delicately 
defining the outline'of the figure. The most difficult 
part of' fitting a Dolman is the sleeve. A slight variation 
in the putting in of the sleeve will make a material 
change in the ajipearance of the garment. 

To insuri' a perfect fit, the dressmaker should procure 
the most reliable pattern first, then cut a muslin pattern by 
this, baste it together and fit it on. The sleeves should fall 
gracefully without a wrinkle. The hand should then be 
raised ujiward even with the waist, and if the sleeve draws 
upon the forearni or forms a wrinkle, it is because the 
sleeve is tio long between the forearm and the shoulder. 
To remedv this,"a pleat should be taken up in the sleeve 
from front to back, half way between elbow and shoulder, 
and deep enough to allow the sleeve to hang perfectly easy 
on the arm ; tlie pleat should be fastened with pins ; the 
sleeve .should then be ripped out, leaving the pins still in 
the pleat ; a new sleeve pattern should be cut from the 
muslm sleeve. On no account must the top of the sleeve 
be changed. When the Dolman is made and before the 
sleeves are .sewn in, the garment should be fitted on and 
tb<' sleeves pinned to the arm-hole in order to get the full- 
ness into its proper place. 

The cutting of muslin patterns to try on first, is a mode 
that is in use in the finest dressmaking establi-shnient in 
iMirope, and has peculiar advantages, and ladies who 
really wish to .succeed in making a perfect Dolman need 
not begrudge the time, for while the Bazar Patterns are 
reliable, paper iiatterns cannot be basted, and it is not safe 
to cut into the material at once, for no two persons are 
formed exactly alike, hence the necessity for the extreme 
care. 



THE FRENCH SYSTEM OF CUTTING AND FFi'TING. 



51 




FRENCH SYSTEM OF CUTTING. 



The above diagram illustrates the French system of 
cutting, which is now in use by the best dressmakers in 
Europe, and by nearly every man dressmaker in the 
United States. It is to this .system of cutting that sucli 
men as Worth, Moschcowitz, Pingot and others owe m\ich 
of their success. 

DrnECTioxs. — Select a plain waist pattern the size 
wanted according to bust measure — when we speak of the 
size of a pattern we refer to the bust measure only — place 
the back and front together as seen on page 38. Cut the 
whole in four pieces as seen on page 39, separate each 
piece as seen above. The width of each piece at /, A", and 
L should be exactly the same. The diagram represents 
bust measure 34 and waist measure 22A. If you will add 
together all the figures at M, 0, J. K. L. and Q they will 
sum up Hi iuches or one-half the waist measure. The 
width of back at Q is a matter of taste : the prevailing 
fashion at this date of writing is to make the back the 



same width as the side piece and piece under the arm. 
All the straight lines running to R indicate the spring for 
tlie skirt, see pages 40 and 41 ; these lines are by no means 
perfect, they are simply a guide that with practice and 
experience mav be brought to great perfection, but never 
absolutely safe. The points at C, I), E, F, G. and 77, 
simplv indicate the place of beginning. The lines at W 
should be drawn with a straight rule, after which give 
shape and form as seen on page 52. The curved lines for 
the back and side piece X X should be drawn by the 
guide A ; different curves may be given to the side seam 
by placing the guide at differe'nt angles. The darts may 
be drawn by the guide B : these also may be changed by 
altering the curve of the guide. It is customary with all 
good cutters to cut a paper pattern for every garnicnl : 
tins is done to save material and to keep the pattern for 
fulsu-e use. The directions here given are for cutting the 
model pattern only. 



52 



THE FRENCH SYSTEM OF CUTTING AND FITTING. 



mODEL PATTER!>r, 





MODEL PATTERNS. 

With this page we commence tlie first pr.aetical lesson 
in the Frencli System of Cutting and Fitting. If you 
understand all that we have explained in the foregoing 
pages, you will have no difficulty in understanding all 
that is to follow. The above diagram is a continuation of 
page .51. It represents a basque pattern complete and 
ready for use. It is called a model jiattern, for by it the 
Basque, the Polonaise, the Princess Dress, the Wrapper, 
the Sacque, etc., are cut. The letters and stars on the 
diagram indicate the different parts requiring special care 
in basting. 

The following description of treating the waist to 
avoid wrinkles, is given to us by a French modest, a 
man of world-renowned fame in the art of dressmaking: 

Directions. — All the seams marked x x x x x on the 
above diagram are to be stretched as follows ; The dart 
seam at C stretch one-half an inch ; this is to prevent 
wrinkles in front at the waist. The dart seam at D 
stretch three-quarters of an inch, this is to prevent wrinkles 
at the waist between D and K. The side seam at E stretch 
one-half an inch ; this is to prevent wrinkles at the waist 
under the arm. The side seam at F stretch one-half an 
inch ; this is to prevent wrinkles at F. The arm-hole at .7 
stretch until it turns over ; this is to prevent wrinkles or 
creases in front of the arm-hole. If the sleeve is tight- 
fitting it should be stretched at this place also from one- 
half to three-quarters of an inch ; this is to prevent 
wrinkles on the sleeve which are usually found at or near 
the front. Speci.\l Directio.ns.— The side seam at G 
should be held one-eighth of an inch full on the side piece 
lietween the .....''. The shoulder scam at // should 



be hel3 one-half an inch full on the front between the 

The sleeve should be sewed in full at K 

between the Caution. — Great care should be 

taken not to stretch the arm-hole between the points at 
www; at each place marked w, the sleeve should be 
sewed in perfectly plain. The waist lining should be cut 
one-half an inch longer at the bottom than the outside, this 
should be fulled in or scattered at the waist a little above 
and below the waist line ; this is to prevent wrinkles at 
the waist. Wrinkles in front just above the waist are 
caused by either too much cut out of the darts, or the 
garment is too tight in front ; to ascertain the cause, 
unbutton the waist from the point where wrinkles 
commence, to six or eight inches below the waist. If the 
wrinkles entirely disappear when the dress is open, the 
remedy is too add one inch more or less at B. In 
adding to the front at B, care must be taken to give the 
darts the proper shape. See page 21. 

If care is taken with the model waist in fitting, there 
will be no wrinkles in front except what may arise from 
the natural movement of the body. It is always safe to 
allow an extra inch in front at B. We furnish with this 
lesson free of charge a complete set of basque patterns 
same as the above in the following sizes, 33. 34, 301, 38, 40, 
43 and 44 inches bust measure. These jiatterns are 
intended for practical use. We call these model patterns, 
as they are intended to cut the cloth models as described 
on page 53. From these patterns almost any style of 
garment may be cut. It is better for all who use the 
System to cut their own patterns ; those who have not the 
time to spend in drafting, can use these patterns with 
safety. 



THE FUEiNClL SYSTEM OF CUTTING ASU FITTING. 



THE FRENCH SYSTEM OF FITTING. 



There is an undefinablc something in the appearance 
iif ii ganneut made by a man dressmaker. The cut, the 
tit, tlie make-up and everj'tliing about tlie (U'ess impresses 
you vvitli its superior workmansliip. Wliat is it V we 
have asked tliis question over and over again. Is it iu 
the material V not that alone. Is it in the cutting ? not 
that alone. Is it in the fitting V not that alone. Is it 
in the making ? not that alone. Is it in the basting ? not 
that alone. What is it ? let the man dressmaker answer. 
" It is in all these details comliined, and strict attention to 
the little things, such as women generally orerlook. It 
is skilled labor combined with good judgment." 

For many years the use of the French System of fitting 
was confined to a few first-class houses in Paris, London 
and New York. It is now ad(5pted by most of the 
leading dressmakers in Europe, and ))y mercliants who 
carry on dressmaking iu connection with their other 
business, the percentage saved in time and material by 
the use of this system being in itself a handsome profit. 
In addition to this, there are many who excel in trimming, 
draping, and in giving to a dress an air of style, yet poor 
fitters, who could not sustain their position a clay were 
it not for this .system. 

If you have ever sojourned in Paris, you could not fail 
to have noticed the beautiful fitting dresses everywhere to 
be seen in that charming city. In Paris, dressmakers fit 
dresses in tlie same way tliat glove-makers fit gloves. The 
lady is fitted but the dress is seldom tried on until it is 
sent home complete. Trying on is unnecessary, as the 
impression or shape of the lady is taken just the same as 
the glove-maker takes the impression or shape of the hand. 
The system thus used by the French dressmakers, is called 
the French Glove-Fitting System, it should be called the 
"Moscow system," for Mr. M. S. Jloschcowitz, the cele- 
brated Hungarian dressmaker, is the inventor, and intro- 
duced the system in Paris twelve years ago ; see testi- 
monial on page 3. It is estimated that 30 per cent, ij 
.saved iu time, and 10 per cent, m material, by the use of 
the system ; but this is nothing compared to the satisfaction 
of being able to cut a dress, make it up, and send it 
home without refitting, and feel assured that the customer 
will be pleased with the fit of the dress. 

As we have stated elsewhere, the French dressmaker is 
provided with a complete set of Basque patterns — these are 
all they have and all they require — this set of patterns 
must be complete, and must be perfect, that is, one of 
every size from the smallest to the largest. They make 
these patterns a study until they master every detail, and 
know how to handle each and every size perfectly. 
With these patterns they are able to cut anything and 
everj'thing, and such cutting and fitting is seldom seen 
outside of Paris, except by those who use the same system, 
and handle it with the same skill. To use these patterns 
as the French use them wnulil appear, at first sight, to be 
troublesome and expensive, but such is not the case, as 
we shall now explain. 

DrRECTiON. — Prepare a full set of plain basque pat- 
terns, such as we describe on page 53, from these cut a 
set of cloth models froni common but good bleached 
muslin. These models should be sewed up ready for 
trying on. See page .54. JIark the size on each model 
to correspond with the pattern from which it was cut. 
When a lad}' calls to be fitted take the bust measure 
only, select a cloth model, to corresiwnd in size to the 
bust measure, fit on this model under the dress, fasten 
the front with pins an inch ajiart, when the fi-ont is 
properly secured examine carefully every part_;that may 
require alteration, pin the parts to be altered until you 
have the model to fit as perfect as you want the dress to 
fit, this is wliat the French call taking the impression, and 
as the Impression is taken so the garment will be when 
finished. After the model waist is fitted, it should be 
removed with all the pins in it. The impression or shape 
given to the model waist should now be transferred to 
the lining. 

Transfer the Impression. — Rip all the .seams 
of the model waist apart without stretching, first crease 
the edge of the model waist as close to the seam or basting 
stitches as possible witli both hands, between the forefinger 



and tluimb. If alterations are made, crease exactly where 
the pins are placed to indicate the alterations ; take 
each piece of the model waist separatelj', beginning with 
the front, spread it on a table over two thicknesses of 
lining ; it must be spread quite smooth, fasten all round 
the edge of the model, outside of the crease or seams, this 
is done with pins, which shovdd be driven through the 
model and lining into the pine table, the pins should be 
placed two or three inches apart, or close enough to hold 
the lining and model firmly and smoothly, when this is 
done, mark or pierce through the lining all round the 
edge, exactly in the crease, say, less than an inch apart, 
with the point of shears, or some sharp instrument, 
pierce so that the marks will show distinctly through both 
.sides of the lining. The back and all other pieces 
belonging to the model waist should be treated in the 
same way, remove the pins and cut the lining, allow for 
seams and laps everywhere, except round the aim-hole. 
If the model waist is iirojierly fitted, and the impression 
correctly transferred to the lining, there will be no need 
of refitting or trying on. In Moschcowitz's dressmaking 
establishment iu New York, they rip the shoulder se.am 
and dart seams only, and use a tracing wheel instead of a 
pointed instrument, they do not crease the seam but run 
the tracing wheel close to the seam over the stitches; 
this is a much quicker way, but requires more care and 
skill to accomplish the work. 

Special Motiec. — Your success as a fitter will 
depend on three things. First; the manner of taking the 
impression. Second : the manner of transferring the 
impression, and Third : the manner of basting. Yon 
may possess all knowledge in regard to dressmaking, 
}'ou may have worked at the business for twenty _years, 
but if you fail in any one of these particulars, you fail as a 
fitter. 

Where a large business is done it is customary to have 
sis to ten model waists of each size constantly on hand 
ready for use. When a waist is fitted the name of the 
customer and the date of fitting is marked on the model 
waist ; it is then laid aside until wanted. So perfect 
should the fitting be done, that a tliird person may take 
the model waist and cut a drc.'ss from it as perfect as the 
person who fit it. A model waist should be used for one 
fitting only. After it is u.sed, it should be kept for 
future use. The average cost of the muslin used in a 
model is seven cents ; this is a small outlay for so great a 
saving. 

Note A. — In fitting over a full bust, lay a small 
pleat in the front edge of the lining, just above the darts, 
this will give more width above the bust and keep the 
front edge straight. See pages 33 and 33. 

Note B. — The French dressmakers cut a paper pattern 
for every piece and part of any dress or garment they 
make, this is done to save material, and it pays well for 
those who will take the time and trouble to do so. We 
fiu'nish pa|ier for cutting ]>atterns. See last page. 

Note t'. — No matter how well you may understand the 
cutting and fitting, if you fail in basting your labor will 
be in vain. The forty lessons given iu this book are all 
of more or less importance to every dressmaker, but those 
on basting and how to avoid wrinkles are among the 
most important. No matter how well the model may be 
fitted if the waist is poorly basted the result will be a 
failure. 

Note D. — A good fitter can take from thirty to forty 
measures or impressions in one day. A good cutter can 
cut a Basque in twenty minutes and Polonaise in thirty 
minutes. At first you may take two hours to a Basque 
and four hours to a Polonaise. Practice makes perfect. 

Note E. — In taking the measure or impression it is 
important that the person to be fitted wear the same corset 
and underg.arments wlien fitted, that is to be worn after 
the garment is made, as a thick flannel undergarment, or 
an ill-shaped corset will make quite a difference in the 
appearance and fit of the dress ; as the model waist is 
fitted, so the dress will be when finished. 

Note F. — Dressmakers doing only a small business 
should keep constantly on hand a model waist lining for 
every size, to be ready for immediate use. Sizes 34, 36 and 
38 will be most iu demand, and should be iu duplicates. 



54 



THE l-'liEAUlI SYSTExM oF Cl'TTLXC AXJ) ET'rTI\(i. 




I-ig. I 



Pis. 2, 



FITTING THE MODEL WAIST BY THE FRENCH SYSTEM. 



TAK1.\(; TilE I.Ml'KESSIUN. 



Tuking the measurp or impression forms an important 
l)art in tlie Freneli system. If tlic followiiij; directions 
are strictl_y adhered lo, you will liave no difficulty in 
cutting and titling |>erlreily witlumt tlie necessity of 
refitting. We will .suppose that you arc provided with a 
coinplcte .set of plain bas<inc patterns, cut in all sizes, same 
as described on page ~y2 ; from these patterns W(! will suppose 
you have cut a complete set of model waists, with the 
seams all sewed up, and the size marked on each, 
ready for use. niKECTioxs.— Wlien a lady calls to 
lie fitted, take the bust measure only, that is tlie measure 
ab()ve the bust as described on page is. Select a model 
waist to correspond to the measun-, fit it on under the 
dress as represented above ; fasten Ihe fnjut with jiins an 
inch apart. Fig. 1 reiirescails a model waist fitted. In 
this case the dress would be cut exactly by the paper 
pattern, without variation, as the model tits perfectly and 
requires no alteration. lu Fig. 2 the model waist is 
exiictly the same as that represented in Fig. 1. On this 
figure the skirt is bouffant, consequently the back of the 
bascpie reipiires to be fuller, as reiiresentcd in the figure. 
It will be .seen that the hack and side piece belo\v the 
waist is too small and must be enlarged ; mark Ihe front 
with a pencil exactly where the two edges meet. If the 
neck is too low, or the shoulder too .short, pin a jiiece of 
muslin to the part deficient, and cut to the size required ; 
this piece should remain on the model, firmly secured with 
pins ; all other parts requiring additional cloth sliouhl l)e 
done in the .same way. When the model is proi)erlv titled it 
should be removed, with all the jiins left in except in front. 



To cut the dress for Pig. 1, pla<'e the paper pattern 
from which the model was cut. on two thicknesses of 
the lining, and with a tracing wheel mark the lining 
exactly along the edge of the pattern : in this way Ijofli 
sides "of the lining will be marked : baste the lining on 
the material and make the dress according [n dircction.s. 
If the garment is polomiise or iiriuccss dress, add to the 
skirl length and width rci|uired — see page K. If any 
different style of basque is wanted, the variations can l)"e 
made without affecting the fit of the garment. To cut 
the garment fin- Fig. 2,^ lay the paper pattern on the 
lining, and with the tracing wheel mark the lining close 
to the edge of the pattern, from the wai.st to the neck. 
Below the waist mark the lining with a pencil exactly 
at the edge of the pattern ; after it is marked make the 
alterations necessary. When the alterations are made, use 
the tracing wlieel on the line of alteration. 

A\4ien the model waist fits tlie figure perfectly, as seen 
on Fig. 1, or nearly so, as seen on Fig. 2, the garment may 
be cut by the model pattern instead of the model waist. 
This will save time in cutting, provided extreme care is 
taken in marking and cutting by the model pattern. 
There are eleven seams or twenty-three edges in a waist : 
the width of a pencil mark if allowed on each edge will 
make a difference of nearly two inclies on the width of the 
waist. It is on this account that nearly all beginners, in 
cutting by the French System, make the first garment too 
large. It is only after repeated trials that they realize the 
cllect of tlje width of a pencil mark. 



THE FUEXCU SYSTEM OF CUTTIAU AM) FITTING. 



00 




Fig. 3. 



Fig. 4. 



FITTIIVG THE MODEL WAIST BY THE FRENCH SYSTEM. 



TAKING THE IlIPRESSION. 

On page 54 we described two waists fitted, one requir- 
ing no alteration, the other with a very slight alteration. 
We have now to explain a more difficult form of fitting — 
Jarge hips with small tcatst. Figs. 3 and 4 represent the 
same bust measure fitted with the same model waist. 
They appear here exactly as they appeared when fitted. 
The measure was taken, the model waist was selected to 
correspond to the measure. When fitted on, the waist 
appeared exactly as represented in Fig. 3. The two side 
seams were ripped from the bottom to the waist ; imme 
diately the seams spread apart, and the wrinkles 
disappeared, the front and back seams lapped each other 
two inches (.see Fig. 4). Fig. 3. shows that the .skirt 
binds over the hips, causing wrinkles to appear above 
the waist. To fit this model rip the two seams under the 
arm from the waist down. Allow the skirt to fall naturally 
over the hip.s, fill up the gap with muslin, fasten with puis 
on both sides to keep tlie whole in place. The back and 
front pieces are too full, and must be pinned down to give 
the proper shape. When the model waist is fitted, us you 
would have the garment to fit when finished, it should be 
removed with all the pins in it ; see that every alteration is 
distinctly marked. 

To transfer the impression from the model waist to the 
lining, see directions on page 53. To fit the sleeves see 
page 49. Fig. 3 is a true representation of the fit of many 
waists that are seen in the street ; and no doubt, in seeing 
such a waist, you will feel as others do. that you want to 
rip the seams apart right on the spot, that you may have 
the pleasure of seeing the wrinkles disappear. Fig. 4 
shows the model waist partly fitted. The postilion or 
skirt is too large at the back and front, and too small at 
the sides over the hips. The space should be filled up 
with muslin pinned to each side so as to get the proper 
shape and spring over the hips ; the muslin should remain 
pinned to the model until the impression is transferred to 
the lining. It is important in fitting that not only the 



width but the proper shape should be given to the side 
pieces below the waist. 

ART OF BASTING. 

The importance of proper attention to basting, forces 
us to again call attention to that part of the French System 
which relates to basting, and to impress most emphatically 
upon the minds of all who desire to master the art of 
dressmaking, that it cannot be done except that the learner 
is willing to study and practice that lesson with the care 
and attention that it demands. Even when a waist is cut 
with exact precision and carelessly liasted, it is sjjoiled, for 
the materials will draw and pull, form wrinkles wliere 
none should be, be tight where it sliould be easy, and look 
at once slovenly and unworkmanlike, whereas a waist that 
is properly cut, and basted with care in all the minute 
points, will fit witliout a wrinkle. 

It is utterly useless for anyone to attempt to study 
dressmaking unless that person has the patience and 
industry to k-arn and practice basting thoroughly'. Ten 
minutes careful basting will obviate two or three hours' 
ripping and changing, and a dress never fits nor looks so 
well that has been pulled apart for alterations. The reason 
wh}' gentlemen dressmakers attain a higher position in 
their business than women is, that they pay the closest 
attention to these details, and a waist in course of construc- 
tion under their hands is basted exactly as the model 
lesson indicates. No person can expect to master the 
French System unless they have the will and understand- 
ing necessary to paying attention to basting — one of the 
fundamental principles of perfect dre.ssinaking. Of 
all the lessons in the Instructing Book, we consider the 
one on basting the mo.st important. If you can learn 
but one lesson, let that one be the art of basting. — See 
pages 34 and 36 ; also page 52, where special attention 
should be given to that part of the instruction relating to 
basting and how to treat the seams. 



oO 



THli FRENCH SVSTEil OF CUTTING AND FTTTINC;. 




FITTING THE MODEL WAIST.— HUNGARIAN SYSTEM. 



Hungary is the only country in the world where 
dressmaking is done exclusively by men. There are more 
or less men dressmakers in every country, but in this 
respect Hungai-y stands alone. Their system of flttius is 
very simple and quickly done. 

Prepare a comijlete set of plain basque patterns, such 
as we have described on page 53; these patterns are all 
the Hungarian dressmaker requires for cutting all kinds 
of garments ; from these patterns cut a complete set of 
model wai.st linings, one waist will make two models 
as only one side is used ; these model waists should be cut 
from good bleached muslin. The size should be marked 
on each model waist to correspond to the pattern from 
which it was cut. 

Directions.— When a lady calls to be fitted take the 
bust measure only, that is, the measure atiove the bust, 
select a model waist to correspond to the measure, fit it on 
the left side, over the dress, fasten the back exactly in the 
centre with pins two or three inches apart, then fasten the 
front in the same way ; fit the model wai-t l,he same as if 
you were fitting a dress, only more exact, as the garment 
should not lie refitted. When the fitting is completed 
remove the waist and lay it aside until wanted. To cut 
the dress, rip the model waist apart and transfer the 
impression the same as described on jiage 511 To fit the 
.sleeve see page 49 ; care should be take'n in fittinc by the 
Hungarian system, to fit over a thin waist. 

Note A.— In fitting over a full bust lay a small pleat in 
front just above the darts at .1 ,• this will" partly jireveut a 
fullness at the throat and give more widtli above the bust. 
The side seam 7? should be fitted with .iji-eat care. 

_ Note B.— This mode of fitting is a'mattcr of necessity 
witli gentlemen dressmakers, at the .same time it is safe 
and reliable. Not more than one dress in ten requires 
alteration after it is made up. It is the quickest mode of 
fitting known to the art. 

Note C— It is estimated that there are 300 men 
dressmakers in the United States ; 290 of these are 
Hungarians. 



GOOD JUDGMENT. 

Perhaps the best quality a dressmaker can have, aside 
from her knowledge of her trade, is judgment, which 
tho\igh something more imborn than acquired, is still 
capable of considerable developemeut, by habits of 
reflection, compari.sou and ]irudence. A dressmaker 
without judgment, would constantly fail in essential 
things, and above all in the art of pleasing. A good 
dressmaker should use judgment in regard to the adapta- 
tion of material and form in her eliciitdk, and should know 
how. without offending, to suggest long, flowing and 
slender lines for short stout ladies, and llie oiiposite for 
slender and tall ones ; she should discourage the use of 
broad patterns or plaids foi' the former and perpendicukir 
stripes for the latter ; slie should understand the use to 
which each garment is to be put, the person who is to 
wear it, and be able to judge with caution as to whether it 
is suitable to the lady's age, complexion, figure, and 
condition of life. She should have clear judgment in her 
dealing with her customers, so as to attract all and offend 
none, to avoid all unpleasant and unnecessary conversa- 
tion. She should have judgment in cutting her dresses, 
so as to avoid tedious and vexing fitting on of waists. 
She should also have judgment enough to listen quietly 
to the customer's ideas, until she thoroughly understands, 
and then to suggest delicately whatever is most suitable 
to their style. 

Judgment is especially necessary in tlie selection of 
trimmings, and in cutting of material. By good judg- 
ment in these two important details much unnecessary 
expense may be saved, and in short, no lady whose 
judgment is faulty can ever hope for even moderate 
success, even though she ma.y have tlie finest taste, which 
is a very necessary adjunct. With taste, an artistic 
perception of the harmonies, and sound judgment, no 
person can fail who understands the mechanical part of 
her business. 



THE FJJE.NCli SYSTEM OE CUTTING AND FITTING. 



57 



PRESSING THE SEAM. 

Pressing seams forms a very important part in tlie 
flnisliing of a dress. All the seams of a garment should 
be pressed no matter what the material maj' be. The 
three modes of pressing seams now in use are, first : press- 
ing against a hot iron. The iron is placed on a table 
with the face turned up; the seams are opened with the 
fingers and pressed gently against the face of tlie iron with 
the two thumbs. The second mode is, for two persons to 
hold the seam, one at each end, and a hot iron run over 
the seam, without allowing the material to touch the table. 
This has a serious objection, that it is liable to stretch the 
seam and when it is once stretched cannot lie brought 
back into place. The third and best mode is to press the 
material on a table or ironing board, covered with two or 
three tliicknesses of cloth. To remove the gloss a hot 
iron is placed on the table and a damp cloth placed on 
the face of the iron. The outside of the material is held 
over the steam until the gloss is removed. This is the 
mode adopted by men dressmakers. Velvets, plush, and 
all kinds of nap goods should be pressed by rubbing the 
seam against the face of the iron, instead of the iron 
rubbing the seam. 



LENGTHENING THE WAIST. 

When, in cutting a waist, it is desired to have it longer 
or shorter than the pattern, it cau be lengthened by cutting 
the pattern tlirough from back to front, half way between 
waist and arm-hole. Drop the lower part of the pattern 
one inch or more. This will lengthen the waist without 
altering the shape. To shorten a waist one inch, or more, 
cut the pattern, as described above, and raise the lower 
part as much as is necessary. A better and quicker way, 
however, is not to cut the pattern, but first mark out 
the upper part. To lengthen, drop the whole pattern the 
length required. Shorten the waist in the same way, only 
by raising the pattern after the upper part has been drawn. 
In raising or lowering the pattern you get the desired 
length. The object is to change the length of the waist 
without altering the shape of pattern. 



HOOKS AND EYES 

Hooks when on a dress should be placed about one 
inch, or a little more inside the edge of the waist, and 
sewn on by taking stitches in the bows, and again across 
the bill to hold them tlat. The sewer must be careful that 
the stitches are taken no deeper than the lining, and the 
thread should not draw too tightly. It should be held 
slightly loose so that the hook ma}' rest on anil not sink in 
the fabric, and thus show on the outer side. The eyes 
should 1)6 placed exactly opposite, the most careful 
measure being taken, as the deviation of a si.xteeuth of an 
inch will cause them to pull and wrinkle the edges of the 
garment. The eyes should be sewn in fovu- places, the 
bows and a few stitches on each side the loops to hold 
them firm. They should be set near to the edge of the 
garment, with the loop projecting slightly. The thread 
should be carried from one to the other without cutting off 
until it is finished; and then start on the last one and 
carry the thread on as before. This is smiply to give a 
better finish. The two great principles, however, are to 
have the hooks and eyes exactly opposite, and to sew them 
on a little loosely, so that they will lie upon the surface of 
the lining. 

CUTTING ON THE BIAS. 

Bad fitting waists are sometimes caused by cutting 
the side pieces and pieces under the arm on the bias. 
Caftion. — The thread or grain of the material and lining 
should be straight round the waist ; there is no difficulty 
in cutting the back and front, these parts are gaged by 
the selvage, but the side piece and piece under the arm 
are often spoiled, from cutting on the bias, the lining and 
material should be cut with the thread running the same 
way ; beginners often cut these pieces to save material 
regardless of the way the thread runs. 



BUTTONHOLES. 

It is a difficult thing to teach one to work buttonholes 
properly by simple directions when perfection can only 
come by practice, still we will give a few general ideas on 
the subject. Fir^t, The places where the buttonholes aj'e 
to be made should be accurately marked at regular 
distances apart, and the first one cut carefully and the 
button passed through. Then the measure for the size of 
the rest should be marked with chalk, and cut with a pair 
of buttonhole scis.sors, if at hand. If not, you must be 
careful not to cut the hole too large. It is better to cut 
them one at a time and work each one before cutting 
another — otherwise they are apt to fray out. When the 
hole is cut, you should with the twist overcast the edges, 
and afterward bar them — that is to take a long stitch on 
each side leaving the stitch to lie on the surface of the 
cloth about one-sixteenth of an inch from the edge ; then 
begin at the back end of the buttonhole and work the edge 
with buttonhole stitch, drawing the twist evenly and 
firmly, but not tightly, all along to the front end. Work 
this round almost as if it was an eyelet, very closely and 
firmly, then continue up the other side till you come to 
the back end. This should be fastened squarely by several 
very neat stitclies laid loosely one on top of the other, and 
then these all taken up with the buttonhole stitch, forming 
a strong loop that will hold the buttonhole firm as long as 
a thread of the waist remains. The needle should with 
the thread still in, be passed to the under surf.ace and 
there fastened securely with three stitches. When, as 
sometimes it happens, it is not desired to line the garment, 
a piece of strong linen a half an inch wider than the 
buttonholes, should be basted between the hem, and then 
the buttonholes cut. This is to give them additional 
strength. When the waist or coat is lined, the lining 
being doubled as well as the outside material, the button- 
holes are strong enough. All tailors and men dressmakers 
are Tery particular about the buttonholes, to have them 
strong and firm so that they will not fray out. 

BUTTONS. 

The buttons should be sewn on exactly opposite 
the buttonholes, and the best way to be sure of that 
result is to sew the buttons on and work the buttonholes 
before the garment is sewn together. The buttonholes 
should be worked first, and then the upper side of the 
waist laid smoothly over the under edge, and pins stuck 
along directly in the centre of the buttonhole. Then there 
should be a line of basting where the pins were stuck, put 
in with a cross stitch exactly where the button is to be 
sewn. The needle should be passed up through the cloth 
and then through the proper place in the button, and 
then down again, care being taken to take as large a hold 
on the button, if a silk one, as possible, and as smalj a 
circumference as can be in the place where it is sewn to 
the dress. Flat buttons require that the thread should be 
wound around the base several times, and then fastened 
underneath by five or six stitches all taken in different 
directions. If they are not well fastened they soon work 
loose, and hang loo.sely, giving a slovenly look to a waLst. 
Buttons with shanks do not need the thread around the 
base, but should be well fastened without the material 
being drawn. 

To strengthen the places where the buttons are to be 
sewn, on soft material, or material that is not lined, 
circular disks about the size of a wafer, and of two thick- 
nesses of strong linen should be cut out and lightly 
hemmed around on to the waist under the places where 
the buttons are to go, and then the buttons sewn oa 
By this means the buttons are held firmlj', and the 
garment acquires another one of those apparently trifling 
aids that go to make perfection. 

THE SLEEVE. 

In fitting a sleeve over a fat, plump, round arm, carry 
the fullness further back over the rounding part at the 
top and stretch the space between Cand P about half an 
inch or more. If the arm is above the average size, stretch 
from Cto two inches above the point at P. See page 48, 
Fig. 33. 



aH 



THE FUEM'll tSY^TK.M ()K ClJT'l'lXG AND FITTING. 



BASQUE WITH THO SIDE PIECES IXDER THE AR:»I. 





Xo. 1775. 



\o. 47. 



THE WMST MEASURE. 

The difference between the waist and bust measure 
in a well-proportioned tigure, is about ten inches — 
that is if the bust measure is :>4, the waist measure should 
be 24, but as ladies are not all well-proportioned, it is 
necessarj' to give some directions that will govern these 
measures, ancl show the alterations to I)e made for a large 
waist. DiKEcrroN.— When the waist measure is ten 
inches less than the bust measure, the basque or polonaise 
may be cut with one piece under the ai'm, the same as 
model pattern on page .52. When the waist measure is 
only si.x or eight inches less than the bust measure, the 
basque or polonaise shoidd be c\it with two pieces under 
the arm instead of one; the above figure, 17T.5, shows a 
basque cut with two jiieces under the arm, bust measure 
84, waist measure 2(>. The waist not only appears smaller, 
but the extra piece makes a better tit and allows more 
spring over the hips. All the pieces from the dart seam 
to the centre of Ijack are the same width at the waist. 
Any basque pattern may be cut as above, by dividing the 
waist from the dart seam to the centre of back into five 
equal parts ; give each the proper shape and spring. 
The above engraving, 177.5, represents a basque cut by 
tlie Bazar Glove-Fitting Pattern No. 1775. We have these 
patterns in all sizes from 32 to 44 inches bust measure. 
Price 25 cents for any size. 

WRINKLES IN THE AVAIST. 

The above engrnving. No. 27, represents an ill-fitting 
basque in front. The remedy is simple if proper care is 
taken when fitting the model waist by the Frencii System 



The wrinkles are caused by either too much taken out of 
the darts, or the front is too narrow. To ascertain the 
cause, unbutton the front from the point where wrinkles 
commence, to the bottom of basque ; when this is done 
the front will naturally fall towards the back, the basque 
will be too loose at the side and too tight at the front ; to 
remedy this add from one-half to one inch in front from 
A to B. and take up the surplus cloth at the side. If the 
basque is made up and finished the alterations can only be 
made at the expense of a new waist. A more simple way 
is to put in a vegt front, as seen above on figure 1775, 
when ladies are corpulent, or if the waist is large in front, 
these wrinkles will always appear luilcss provision is 
made in process of fitting. It is a safe rule to allow an 
extra inch in front, so as to let out if neces.sary. A little 
care and foretliought on the part of a cutter, will often 
save hours of labor. Fi(i. 1775 was cut and fitted by the 
French System ; the same pattern was used, but not fitted 
for Fig. 27, as in lioth cases the measiu-e was exactly the 
.same. " The French system of fitting is the only reliable 
method wherebv a dress can be made up with safety 
without re fitting. C.mttion. — Nine-tenths of all the 
difliculties arisiiisr from bad fitting waists in front, 
especially in the Polonaise, is caused by the garment being 
too tidit at B. From this point, or seven inches below 
the waist, the garment is usually cut too small, and when 
tirought together the strain across the hips throws fullness 
at the waist : open the front below the waist, and wrinkles 
will disappear. In stout, sliort, thick set persons it is 
sometimes necessary to place a whalebone in front, directly 
imder the buttons. As this interferes with buttoning the 
waist, it is seldom done. 



THE FRENCH SYSTE>r OF f'rT'riX(i AND I'lTTIXO. 





JIODEL PATTEKN 
FOR CHILDREN'S GARMENTS. 

The French System of cutting and fitting is pre- 
eminently tlie one by which to fit cliildren's garments ; 
for, as we sliall see I)}- this lesson, one model can ho 
used for every kind of garment, and therefore one 
fitting is enough for a whole wardrobe. Tlie manner of 
fitting children is precisely the same as that of fittnig 
adults. We furuisli with "this lesson a complete set of 
patterns same as the above, in the following sizes, 2, 4, 6, 
8, 10 and 13 years ; these are called model patterns for by 
them all kin<ls of children's garments are ciit and fitted. 
We have .selected this pattern as *lie model on account of 
its great simplicitj-. 

DIRECTIONS. 

Cut a complete set of cloth or muslin models from the 
model ]5atterns, sew them up, and mark the size or a.ge on 
each, so as to be read}' for use at a moment's notice. 
When a child is to be fitted, select a cloth model to 
correspond to the size, fit it on, the same as for a lady, also 
transfer the impression in the same way, see page 53. In 
cutting garments for children of all ages, allow a full inch 
for seams. All kinds of garments may be cut from the 
above model ; by extending the back pieces, anil trimming 
with ruffles, by folding the pleats in a diffiereut direction, 
b)' the addition of pockets, trimming, buttons and bows, 
most of the cb.anges in appearance are made. In cases 
where a seam goes to the shoulder, the shape remains the 
same, and a rounding seam is outlined midway between 
the back and side seam. This is the form given to many 
dresses, as well as of the sacque with cape. Cut a sacque 
the same as a dress, only do not fit as close to the figure. 
In a pleated dress with a yoke, a lining is fitted and the 
pleats are sewed on, following its outline. In a bo.x- 
pleated dre.ss, the pleats are laid in the straight material 
wliich is then shaped b}' the model. Aprons, whether 
tight-fitting or loose, are shaped after the same model, and 
a belt, trimming and sash, makes the various styles. All 
these garments are made double-breasted by simply adding 
two inches to the width of the front. This mode of fitting 
is extensively used liy first-class dressmakers for children. 
It is the only safe and reliable system for fitting, and may 
be relied upon. If the model is jiroperly prepared and 
fitted, the result will be satisfactory. 

Mothers who have a taste for dressmaking, and can 
indulge thcmsidves in the requsite material, are to be 
envied, fur they have certainly a never-ending fund of 
comfort in tlit' making up of the modern designs and 
pretty cond)inations of colors and materials, which are so 
effeciively introduced into the clothing of girls. Monej' 
alone, however, will not dress children well, even with 
the abvuidance to choose from. It requires some knowl- 
edii'f and a good ileal of taste to be able to select from the 
immense variety of niaterials afforded, exactly that, and 
only that, which is adapted to the personal needs. The 



difference between to-day and a qviarter or lialf a century 
ago, in this respect, is very marked, and the steady gain, 
in the shape of more healthful, as well as improved designs 
in the clothing of children, is worthy of more .serious 
consideration than we are apt to bestow upon it. 

Twenty-five years ago, the little one suffered actual 
horrors from cold, through wearing short socks, thin, low 
shoes, and low-necked dresses. The first advance was- 
raade in the length of stockings, which were brought up 
to the knee and held there by a ligature, whicli not otdy 
spoiled the shape of the leg. buf impaired the general 
circulation of the blood. Looking back upon these things 
in the liglit of the simple Gabrielle styles of dress — the 
practical" stocking suspenders which are at once neat, 
effective, and durable— it is a matter of s\u-prise how the 
children of past generations grew into men and women, 
and we no longer wonder that consumption and other 
diseases were left as an inheritance to this generation, or 
that, under better sanitary conditions, the average term of 
life is gradually increasing. 

In time we shall learn to how great an extent life, 
health and happiness depend upon knowledge and the 
exercise of judgment in regard to clothing ; and those 
mothers who wisely begin with right ideas, and continue 
to impress upon their boys and girls pliysiological facts in 
regard to dress, are laying the foundations broader and 
deeper than tliey know, and are not only benefitting the 
child individually, but preparing it to do good work as 
the member of a community, as the citizen of the world at 
large. 



MOTHERS AND GUARDIANS. 

The following simple directions are given for those 
who have little or no experience in cutting and fitting 
children's garments. Directions.— Take the bust meas- 
ure the same as for a lady ; select a model pattern (one of 
the above patterns), to correspond to the size of the bust 
measure ; from this pattern cut a muslin dress the shape 
and style you want, baste tlie seams with a running stitch 
four to the inch, try on the garment, make the necessary 
alterations, then proceed to cut the garment as follows : 
Rip all the seams of the muslin dress apart, place each 
piece over two thicknesses of lining so as to cut for both 
sides at the same time, transfer the impression to the 
lining, see directions on page .53. If the lining extends 
only to the w.aist, cut the lining so far as it goes, see tliat 
every seam is distinctly marked with the tracing wheel, 
any other means of ma'rking will do just as well, only see 
that every seam is marked: when the linings are cut. place 
each piece separately on the material, and before cutting, 
place the muslin dress over all, so as to use the lower jiarl 
for a pattern. The average cost of muslin for the model 
dress is twelve cents : tbis'will be saved many times over, 
in economv in material, and time saved in fitting, to say 
nothing of'the risk of spoiling the garment. 



60 



THE FRENCH SYSTEM OF CUTTING AND FITTING. 



PREPARING THE ARM-HOLE FOR 
THE SLEEVE. 

While the dress is in process of making, overcast the 
arm hole — outside and lining together ; this is to lieep the 
material from raveling. When the dress is finished, and 
befQre the sleeves are sewed in, stretch the arm-hole in 
front about two inches above and two inches lielow the 
notch for the seam of the sleeve ; this should be done 
with a hot iron ; stretch lining and material together until 
the edge turns completely over, this will make the tlress 
feel easy and prevent wrinkles in front of the arm-hole. 
The arm-hole should be stayed with a thin narrow silk or 
cotton tape ; sew the tape, lining and material together 
with a running stitch, four to the'inch, hold the tape loose 
in front, plain on the to|) where the sleeve is gathered and 
light at the back, see w w w on page .'53. The sleeve 
should be sewed through the tapes. 

PREPARING THE SLEEVE FOR THE 
ARM-HOLE. 

The top of the sleeve should be cut about one and a 
halfinches larger than the arm-hole. While the sleeve is 
in process of making, overcast the top, lining and material 
together, this is to kee]i the edge from raveling. When 
the sleeve is finished and before it is sewed in, gather the 
top or rounding part with a short running stitch, eight to 
the inch. Care must be taken to have the fullness in the 
right place— see page 48 and 49. If the sleeve is tight- 
titting, the top should be stretched a full half inch, 
between the forearm seam, and two inches above ; this 
will prevent pin wrinkles across the sleeve ; these wrinkles 
are usually seen at or near the forearm seam running 
towards the back. To sew in the sleeve, |:)laee the sleeve 
in position with pins, commencing with the front and 
back arm seam. In sewing, hold the sleeve toward you. 
Before sewing in the sleeve it is well to have it titled to 
the arm. It is not necessary to tit to the person for whom 
it is intended, any person nearly the size will answer ; the 
object of this fittiug is to get the fullness in the right place. 
When the sleeve is sewed in, bind the seam with silk or 
narrow tape. Note A.— If you do not stay the arm-hole, 
overcast with a short stitch, six to the inch. Not?: B. — 
If you do not bind the seam after the sleeve is sewed in, 
overcast with short stitches, si.x to the inch. Note C. — 
The top of the sleeve should be stretched only in tight- 
fitting sleeves. Care should be taken not to stretch where 
tile sleeve is to be gathered ; stretch only between C and P 
— see page 48, Fig. 35. 



THE POLONAISE. 

The polonaise is fitted in every way the same as the 
basciue. except in length of skirt, see page .13 ; add length 
and width required. Before cutting the polonai.se, ascer- 
tain the style of looping de.sired. If you wish to copy the 
looiiing from a pattern, place the pattern on the lower 
part of the skirt, and cut by the pattern. If you wish to 
copy any particular style of looping from a picture or 
fashion plate, first drape the style of looping on a figure — 
the foundation may be thin muslin or tissue paper — 
jjractise until you get the desired effect. Cut the skirt of 
the polonaise according to the draped pattern ; mark with 
pins each point where the loop or draping is formed ; this 
will save time in re-draijing 



THE PRINCESS DRESS. 

The Princess dress is a polonaise with the skirt 
extended. It is a garment complete in itself. The skirt 
may have a train ten or twenty inches long, or may be 
short in the shape or form of a walking dress. It is cut 
and fitted tlie same as the polonaise ; the style of looping 
ai;d length of skirt is a matter of taste and fashion. If 
for a walking dress the skirl should appear the same a? 
Fig. B, iiage 61. If made for a train dress the skirt should 
be fashioned after Fig. A, page 61. 

THE WALKING DRESS. 

The short dress is a garment complete in itself. It is a 
Princess dress without the train. It is cut and fitted the 
same as the polonaise, the skirt of all .short dresses have a 
tendency to cling at the heels, and fall in in front Care 



should be taken in cutting the skirt to avoid these faults. 
Fig. B, page 61 shows the front and side view of a walking 
skirt, as it should hang when finished. 

THE CLOAK OR SACQUE. 

To cut a sacque take the bust measure same as for a 
basque ; select a model basque pattern two inches larger 
than the measure, that is, if the bust measure is 34, select 
a model luittern ;^0. as the garment is to be worn outside. 
It should be made large in proportion to the style of goods 
and manner of wearing. The sacque should be cut the 
same as the basque with the skirt extended ; the back at 
the waist should be made the same width as the piece 
under the arm. To make the sacque tight- fitting cut one 
dart in front ; if half-fitting, have no darts in front ; if 
loose, have no darts in front, with the pieces under 
the arm and side seam cut nearly straight. To make the 
s.'iique double, add two inches to the front from too to 
bottom. 

THE ULSTER. 

The Ulster is a sacque with the skirts extending to the 
Ijottoin of the dress ; a variety of shapes are given by 
changing the positions of the seams. If slashed at the 
back of side, the skirt must be made narrow ; cut the 
same as for a sacque. 

FITTING BY PROXY. 

Fitting by proxy is a term used by dressmakers, when 
fittiug ladies living at a distance. There are several 
modes of this style of fitting ; we will explain the two 
most in use. FiksT Mode. — Let the customer send the 
following measures ; bust measure above and below the 
bust, waist measure, length of waist, also length of back 
and front. Cut and make up a muslin model to the 
measure ; .send it to the lady with instructions liow to fit; 
when returned, transfer the impression as directed on page 
.50. Second Mode. — The person to be fitted .should send 
a waist that fits her perfectly, or if it does not fit, a minute 
description of all tlie alterations should accompany the 
waist ; fit the waist on some person near the size ; pad 
every part with wadding until it fits the figure perfectly ; 
then fit the model lining over the waist the same as if the 
person to lie fitted was before you. This second mode is 
the system of fitting by proxy adopted by Moschcowitz 
Brothers of New York. 

THE SKIRT. 

Figures ^4 and 7?, on page 61, illustrate the correct shape 
which should be given to th ? skirt. We recommend to 
all dressmakers the Everet Adjustable Figure illustrated 
on page 64 ; the figure should be padded to the required 
size. These pads are made in the form of a short petticoat; 
each separate piece or petticoat is quilted the same as 
an ordinary (|uilted skirt. They are tied or pinned 
round the waist ; sometimes five or six of these quilted 
petticoats are used on one figure, to get the required size. 

Fig. B on the opposite page represents a plain 
Walking Skirt with six widths, two on each side, 
one on the front and one on the back. Each gore is 
sloped over the hips to give shape and form to the skirt. 
The back has a sejiarate jianier, it is made separately 
and attached to the skirt, after it is finished. The engrav- 
ing shows the form m which it is made. The slit in the 
side is intended for tapes, which pass underneath and are 
tied in the back under the skirt. The end of the tape is 
fastened to the front edge of the slit. The object of this 
is to give shape to the front, without affecting the panier 
in the back. 

Fig. A shows a Court Train. The foundation of the 
skirt is made in eiuht pieces, each piece is sloped over the 
hips, and gradually enlarged as they reach the bottom ; 
the train is made" separately and attached by buttons, 
which mav be oramental as a trimming. The engraving 
shows the'manner of making this train. It may be made 
to form a dress, or a foundation over which the dress is 
worn. The engravings .1 and B, page 61, show the 
foundations onlv, not tlie dress itself. 

The Everett" Adjustable Figure, spoken of above and 
explained on page 64. is indispensable to dressmakers, in 
the looping or draping of Train Skirts. 



THE FEEXCH SYSTEM OF CUTTING AXD FITTING. 



61 




G-Z 



THE FEENCH SYSTEit OF CUTTING AND FITTING. 



COPYING STYLES. 

As every dressmaker is not an importer, it is necessary 
that she picl< up the prevaihng style from what is seen on 
the street and at the various openings of importing houses; 
and to facilitate the reproducing of these st3'les, we give 
the method which is commonly used. In Paris tliere are 
thousands of people employed m this business of fashion 
luuiting, and they systematize the matter so that the 
memory is only burdened with tne important points. It 
is first necessary to note that the ordinary length of a 
waist is fifteen inches, and a skirt forty-two inches. 
Everything is calcidated from these figures, especially the 
waist length. For instance, if the dress you wish to "copy 
has a basque and overskirt, notice what proportion the 
skirt of the ba.sque bears in length to the waist • U may be 
one half or one-third as long, then you have its inches, 
seven and a half or five already known ; then if the side 
is shorter it will be one-cpiarter the waist, three or four 
inches ; thus by a glance you have the exact number of 
inches by which to cut a pattern. Then, too, with the 
overskirt ; the middle of the skirt will be twenty-one 
inches from the bottom of the waist, and from this 
calculate the position of loopings and trimmings. If the 
side looping is three inches above the middle, you know 
exactly how far from the waist to put it. From these 
numbers you calculate the position of every part. With 
this system for remembering the exact length, depth, and 
breadth, and with a pencil and paper on which to 
hurriedly sketch the general outlines, it wul neea but 
little practice to enable you after making a tour of shops 
and streets, to come home and cut patterns of fifty 
diflferent styles. 

FAILURE. 

Ill dressmaking you may often fail to come up to a 
given standard ; but failure is healtliy, if it stimulates to 
greater exertion. The feeling that springs from constant 
failure is discontent, and if indulged, will be hurtful to all 
true growth. The only way to overcome this feeling is to 
be honest with yourself, to see clearl_y what you can and 
what you cannot do. A woman's knowledge is never put 
to lietter account then when it defines her capacity, states 
the limit of possibilities, and restricts lier to efforts likely 
to be successfid. If you will make the most of what you 
possess, and keep within the limit of your ability, you 
will succeed. In your gradual development you may 
sometimes fail to accomplish a difficult task. If you see 
your failure you are safe, otherwise your progress will be 
slow and your success doubtful. It is a good sign when 
you are discontented with your own attainments. 



THE FRENCH RULE. 



The French Rule to ascertain the quantity of material 
in a garment after it is made up : 

First find the number of square inches in each piece of 
the garment. At first sight this may seem difficult, 
especially when rufHes and pleatings are much used, but 
the process is in fact very simple, and may be accurately 
done by anyone who can lake correct measurements and 
understands the simple rules of arillunctic. 

To explain. — Measure by inches the length of each 
piece, and then the breadth, then multiply the one by the 
other, and the figures produced will be the number of 
.square iiiclies in tlie piece. In the case of a ruttle calculate 
from 'i to 4 times the circumference c}f the skirt according 
to the fullness of the pleating. Say a skirl mea.sures 4 
yards around, and tbe rufilc requires 3 times tliat length of 
goods, or Vi yards, and is 6 inches deep, with a ^-incli hem, 
and a seam } of an inch, making a total of 7 inches, multi- 
ply 13 yards (4:W inches) by 7 and you have 3,024 square 
inches. When you have found tbe number of square 
inches in each piece in the garment, add them all together, 
and reduce the total to j'ards. To do this, it is necessary 
that you first find the width of the material used, for 
instance : if you find yoiu' garment calls for a total, say of 
10.416 square inches, and the goods u.sed measures 34 
inches in width, multiply 34 by H(i to find the sq\iare 
inclies in the yard, which is .'<l)4. divide the total of square 
inches in the garment (16.41(!) by the number of square 
inches in the yard (.'*t>4) and you find that the garment 
contains 19 yards of material ; add .5 per cent.7or one 
yard in 30 for waste, and you arrive at the result, namely, 
that the garment requires 30 yards. Bows and small bias 
pieces must be calcidated as near as jiossible. This is the 



French rule by which, with a little practice you can come 
within a fraction of the exact measurement. 



THE ENGLISH RULE. 

The English Rule to ascertain the quantity of material 
in a garment after it is made up : 

Find the widtli of the material used in tlie make up of 
the garment. If it is 34 inches wide, cut a piece of paper 
or muslin 34x:i(j inches, or equal to the size of a yard of the 
material. Then measure the garment, jjiece by piece, and 
mark off on the pajier or muslin a space e(iual to the size and 
shape of each portion of the garment. AVhen every part has 
been thus measured, add 7i per cent, for waste. If you 
can have your paper or muslin from 2 to 3 yards long it 
will great_y facilitate the work of mea.surement. If you 
prefer, you can mark a space 34x30 inches on a table, and 
u.se instead of the paper or muslin. This is the English 
rule, and it is astonisliing how correctly the quantity can 
be ascertained in the most complicated garment. 

The time required to measure by the French rule is 
fifteen minutes, and by the English rule twenty minutes. 
Jlerchanls will find the above rules very convenient in 
finding the cost of ready made garments. 



TASTE. 

Taste is the key-note to all successful dressmaking. 
With taste, it is possible for you to stand on the pinnacle 
of fame ; without it you must remain at the foot of the 
ladder. Taste, like an instinct for art, is something to be 
systematically cultivated before it can amount to anything 
more than an impulsive and short-lived liking for 
whatever may momentarily please the eye. As a natural 
gift, left to take its natural course, it is an assertion in one 
moment to be conlradicled in the next. Taste must take 
lessons, to grow into anything worthy the name ; it must 
study the laws of consistency, master the unities of color, 
comprehend the effects of stature, familiarize itself with 
the subtle niceties of light and shade, and appreciate the 
dilTerence between abstract beauty and personal suitable- 
ness. With a taste that is so cultivated, a dressmaker 
may dictate terms to the leaders of fashion, command the 
attention of the public, and the respect of customers. It 
is a very common thing to say that such or such a lady 
dresses with taste, when the said lady has, in realitj', no 
taste at all. What is called ta.ste is, in" fact, the caprice of 
her dressmaker, and the praises of those friends who have 
told her that certain articles are "'so becoming." Her 
outward attire is simply an expression of her entire 
submission to the dictation of others. Taste in dress can 
scarcely lead its possessor astray, and is, indeed a moral 
guide. It is full of reminders and admonitions ; nor can a 
woman dress herself in perfect taste without a distinct 
knowledge of lier personal defects. A hundred fashions 
are pretty and charming in themselves ; but she knows 
they are not for her and resists them. They are forbidden 
by something in figure, complexion, station or age. 
Passion for "ilress is' profuse and extravagant ; taste in 
dress is not in its elaborate richness or expense, but in its 
adaptation. Taste in dress is essentially moderate and 
self-collected, never forgetting that the object of dress is 
not to exhibit itself, but its wearer ; that all that the most 
splendid toilet has to do is to set off a noble, graceful and 
winning presence, and itself to be lost in a pleasing effect. 
Pa.ssion for (h'ess is always intent on what others will 
think — or takini; some new eye by storm ; taste has self- 
re-^pect, and, before all things, mus"t satisfy its own notions 
of propriety and grace. 

Moschcowilz Drolhers arc considered the first dress- 
makers in the United States ; their business extends to all 
parts of the world. They have at times ninety men 
dressmakers in their employ besides a large corps of 
women. When a lady orders a dress in their establish- 
ment, they dictate the style, the material and the trim- 
ming ; their word is Law. " When the dre-ss is finished it is 
complete— it is admired. The secret of their success is 
taste— taste in material, taste in style, taste in color, taste 
in shade, taste in stature, taste in suitability, taste in 
everything thev touch. Their ideas are as far above the 
ordinary dressiiiaker as the school-boy is below his master. 
If you would be like them cultivate tbe laws of taste. To 
dress well is another important study for the young 
dressmalver. The love of dress is innate, immanent in the 
female heart, and it is absolutely innocent ; it is a charm 
and not a frailty ; is a talent and not a drawback. 



THE FRENCH SYSTEM OF CUTTING AND FITTING. 



63 



"DRESSING WELL" 

is quite distinct from "over-dressing," — wliicli latter is in 
reality, dressing hmlli/. We must insist upon its being the 
duty of every lady to dress as well as her means will 
properly permit. For, looking back through the vista of 
past ages, it must be born in mind that tlie love of dress 
was the prepartory step to tlie cultivation of the feelings, 
which diffused tenderness and refiuemunt throughout the 
whole structure of society. It placed a barrier between 
the progressive classes of mankind and barbarism. By 
serving to develope in woman a delicacy of taste, it must 
have imparted a puritj' to her habits that insensibly led 
her from too ancient a devotion to the materialities of life 
into tliose regions of reflecting and taste in wl.ich her 
mind found ample room for expansion. Therefore, 
"dress" has been a great civilizer, and must not be 
despised ; at the same lime, we do not wish to encourage 
an inordinate love for dress— much less should we like to 
be tliought advocates of "finery." But we wish our 
ambitious young- dressmakers to study well the happy 
medium which lies between extravagance and parsimony 
in respect to dress, and they will perceive that these 
extremes are as far apart and as much to be avoided as 
tawdriness on the one hand and slovenliness on the other. 
There are certain moralists in the world who labor 
under the impression that it is no matter what people wear 
or how they put on their apparel. Such people cover 
themselves up — they do not dress. No one doubts that 
the mind is more important than the body, the jewel than 
the setting ; and yet the virtue of the one and the 
brilliancy of the other is enhanced by the mode in irJu'ch 
they are presented to the senses. Let a woman have everv 
virtue under the sun — if she is slatternly, or even inappro- 
priate in her dress, her merits will be more than half 
obscured. If, being young, she is dowdy or untidy, or 
being old, fantastic or slovenly, her mental qualifications 
stand a chance of being passed over. 

Female lovliness never appears to so good advantage 
as wlien set off by simplicity of dress. A modest woman 
will dress modestly : the dress of a really refined and 
intellectual woman will bear the marks of" careful .selec- 
tion. It is easy to be well-dressed, without being 
extravagant ; and fashions do not essentially vary so often 
that a large outlay is required to keep pace with those 
changes and innovations. 

Dress must of course be varied to suit occasions, and 
to correspond with circumstances. A lady should not 
walk in a dress only fitted for the house : nor, if she go to 
market herself, should she on these occasions appear in an 
attire better adapted to the drawing-room. 

Very little jewelry should be worn in the morning : 
but if accompanying a walking-dress, in the afternoon, it 
should consist of plain gold ornaments, or those in which 
opaque stones are set. Brilliant stones are chiefly for the 
evening. A lady whose means are limited should also 
limit her stock of jewelry, and not make up for a 
deficiency of quantity by the purchase of a lot of 
trumpery. No watch or chain need be worn at evening 
parties, and never in the ball-room. When a young lady 
is engaged to be married she wears the "engagement 
ring," which her suitor lias given her, upon the same 
finger which in time is to wear the wedding ring ; and she 
should never be seen without the former during the 
interval until the advent of the "happy day." 

A lady should lever be seen in" the street without 
gloves ; and these should always be of the best possible fit, 
because she is not obliged to take off her gloves to shake 
hands with a friend or acquaintance. 



HOW LADIES SHOULD DRESS. 

If you should look from a window in Paris, and 
observe tlie first fifty women who passed, you would find 
forty with noses depressed in the middle, a small (juantity 
of dark hair and a swarthy complexion ; but then — what 
toilettes ! Not only suitable for the season, but the age 
and complexion of the wearer. How neat the feet and 
hands ! How well the clotiies are put on, and more than 
all, iiow well they suit each other ! 

Before the American women can dress perfectly, they 
must have the taste of the French, especially in color. 
One reason why we see colors ill-arranged is, that the 
different articles are purcliased each for its own imagined 
virtue, and without any thought what is to be worn with 
it. Women, while sliopping,"'buy what please the e3'e on 
the counter, forgetting what they have at home. 



That parasol is pretty, but it will kill, by its color, one 
dress in the buyer's wardrobe, and be unsuitable for the 
others. To be magnificently dressed costs monej', but to 
be dressed in taste is not expensive. It re(juires good 
taste, knowledge and refinement. 

Never buy an article unless it is suitable to your age, 
Iiabit. style, and the rest of your wardrobe. Nothing is 
more vulgar tlian to wear costly jewels with a common 
delaine, or clieap lace with expensive brocades. 

What colors, it may be asked, go best together V Green 
with violet ; cold colors with dark crimson or lilac ; pale 
blue with scarlet ; pink with black and white ; and gray 
with scarlet or pink. A cold color generally requires a 
warm tint to give life to it. Gray and pale blue, for 
instance, do not combine well, botli being cold colors. 
White and black are safe to wear, but the latter is not 
favorable to dark or pale complexions. The selection of 
colors suitable to the complexion is a matter that is too 
often neglected, as well as the contrast of h.-irmony or 
color, which is another point to which sufficient attention 
is not given. 

Women may be divided into two classes, the complex- 
ioiial distinction of which is brunette and blonde, or dark 
and fair. The former may be described as having black 
hair and dark eyes ; and the latter, light liair and blue eyes. 
If we take the trouble to study what colors best assort 
with the hair and complexion, we shall see that they are 
those which produce the greatest contrast ; thus, sky-blue 
accords well with blondes, as do also delicate greens. If, 
however, the red predominates over the rose in the 
complexion, dark green is preferable to light. 

Rose-red cannot be put in contrast witli even the rosiest 
complexions without causing them to lose some of their 
freshness. 

Maroon and light crimson liave the serious disadvantage 
of rendering the complexion moi-e or less green. 

It is necessary, then, to separate the rose from the skin 
in some manner ; and the simplest way of doing this is to 
edge the draperies with a border of tulle, which produces 
the effect of gray by the mixture of white tlireads, which 
reflect light, and the interstices, which absorb it ; tliere is 
also a mixture of light and shade, which recalls the effect 
of gray, like the effect of a casement window viewed at 
a great distance. 

" Dark red is less objectionable for certain complexions 
than rose-red, because, being higher than the latter, it 
tends to impart whiteness to them, in consequence of 
contrast of tone. 

Delicate green is, on the contrary, favorable to all fair 
complexions which are deficient in rose, and which may 
have more imparted to them without disadvantage, but it 
is not as favorable to complexions that are more red than 
rosy. 

Yellow imparts violet to a fair skin, and in this view it 
is less favorable than the delicate green. To brunettes, on 
the contrary, it is becoming. 

Blue imparts orange, which combines favorably with 
white and the light flesh tints of fair complexions which 
have already a more or less determined tint of this color, 
lilue is thus suitable to most blondes. It will not, 
however, suit brunettes, since they have already too much 
of orange. 

Orange is too brilliant to be elegant ; it makes fair 
complexions blue, whitens those tliat"have an orange tint, 
and gives a green hue to those of a yellow tint. 

Lusterless whites, such as cambric muslin, assorts with 
a fresh complexion, of which it relieves the rose color ; 
but it is unsuitable to complexions which have a disagree- 
able tint, because white always exalts all colors by raising 
the tone ; consequently it is unsuitable to those skins 
which, without having this disagreeable tint, very nearly 
approach it. 

Very light white draperies, such as muslin or lace 
appear more gr.ay than white, we must thus regard every 
white drapery which allows the light to pass through its 
interstices, and which is only apparent to the eyes liy the 
surface opposed to that which receives incidental light. 

But whatever the color or materials of the entire dre.ss 
the details are all in .all ; the trimming or lace around the 
bosom and sleeves, the flowers — in fact all that furnishes 
the dress. 



04 



THE FRENCH SYSTEM OP CUTTING AND FITTING. 



HOW TO TREAT THE WAIST. 

The following detailed description of how lo treat the 
waist of a dress is given by Mr. Moschcowitz of the firm 
of Moschcowitz Brothers, No. 399 Fifth Avenue, New 
York. He says: " Tlie question lias often came up wilh 
us : What can be done to prevent the .seams of the waist 
from drawing, the material from giving way, and the 
waist from stretching out of shape and form V From 
fifteen different methods of making tlie waist we have 
found only one thai is satisfactory to us, and which we 
have now adopted exclusively in our business. 

Description. — After the lining or model waist is fitted, 
that is, after tlie imjiression is taken, transfer the impres- 
sion of tlie model waist to a thin soft French cambric 
which should be used as an interlining ; from this inter- 
lining cut the real lining, mark exactly where the seams 
are to be sewed, for the real lining is to be sewed 
separately, and not with the material.' (See page 54 on 
transferring the impression.) From the interli"]iing cut 
the material, allow a good full inch for seams everywiiere 
except round the arm-holes and neck, whicli should be cut 
as they are intended to fit, baste the interlining and 
material togetlier, then sew all tlie seams in the waist, the 
interlining should be sewed in with each seam. Tlie 
basting is an important part of the work, and should be 
done only by skilful hands. Press all the seams open 
with a moderately hot iron over a lap board or table 
covered with three or four thicknesses of soft bleached 
muslin. For whalebone cases, cut a strip of muslin an 
inch wide, baste on each scam where whalebones are to be 
placed, the whalebone should fit tiglitly in the casing and 
directly over the seam, fastened at liotli ends ; sew on the 
collar, work the button-holes, cord the edges, and finish 
the postilion before the lining is sewed in. When the 
waist is thus completed sew up all the seams of the lining 
except the shoulder seams, baste the lining to the waist 
with the seams facing eacli other beginning at the centre of 
the back, the lining' sliould be "basted a little loose, 
especially at the waist ; fasten the lining to the back seam 
and seam under the arm, turn in the edges and sew neatly 
witli a fell stitcli, in this way the seams are covered giving 
to the waist a more finislicd appearance. All the waists 
we make are treated in this way except velvet, cloth, and 
.grenadine. In lieavy gobds the upper part of the inter- 
lining should be cut away, the real lining sIkjuUI be made 
from very thin material, such as muslin or light silk ; it is 
used merely as a covering, for inside of the waist." 
Note: — Tlie iiilcrUiu'ii;/ Klimihl he as thin as possible. 
The result of innkinf) a. traint ris descrihed above in perfection, 
hut too difficult for heginvers ; none but experienced dress- 
nidkei's should undertake the work. 



READING WITH PINS. 

In making alterations on the model waist in process of 
fitting, pins may be placed in different positions so as to 
ri'ad like letler.s. Mr. Moschcowitz in explaining this 
braneli of his business, stated that the model waist was 
liand<'d to the culler witliout a word of explanation frr)m 
llie filler, the )iins iudicaled all the alterations rei|uired in 
llie model or lining ; thus if a ]iiu is placed one inch from 
the edge, or from any seam, with the point down it means 
lliat one inch is lo be added to that particular.place, if the 
l)in is pointed up it means that an inch is to be cut oil 
from that parlicular place ; at or near the front edge of 
the waist there may be six pins, some jKiiiilcd up and^ome 
pointed down, all indicating different alleratious. To add 
or diminisli at the neck or arm-hole, or to lengthen or 
shorten Ihe waisi or skirl, place two pins logether when 
you want lo add or lenglben. or one pin wlien you want 
lo cut off or diminish. Every dres,smaker should make 
her own alphabet, placing Ihe pins in ei.irht or ten different 
positions, each jiosilion to mean a different alteration. 
Wilh a little practice, anv alteration can be indicated in 
tliis wav. 



:manilla paper. 



Sec price list in next column for manilla paper, for 
cutting model patterns. This is the kind of paper used 
for cutting standard patterns. It can be sent by post or 
express. 



EVERETT PATENT ADJLSTABL,E 
DREf<»J>» FIGLRE. 



3 3 






1 




1 


I _L.-^ 




1''^ 


:io 




: U-^ 



S B 



B " 






We take great pleasure in slating that although this 
Figure is comparatively new, having been in the market 
but a short time, more tlian Five Tliousand are now in 
use, and tliat in every instance they have given the most 
unqualified satisfaction. 

It is the united leslimony of all Dres.smakers using 
these Forms that they will save their cost several times 
over in a single season. Private ladies find it indispensa- 
ble in their home for Drapiii.g imrposes. 

Specl\l Adv.\nt.\6Es. — They are made from the first 
(|Uality material, neatly bronzed "front and back. Japanned 
base and knob, mounted on casters, are of perfect shape, 
can be raised or lowered, so that the Artist can stand or 
sit when trimming or draping Ihe skirt. The Figure will 
soon pay for itself in the saving of the time lost in taking 
ladies from their work to drape and trim skirts. It also 
gives to the dress or suit a full, round and perfect form, 
tliereby allowing the patron to admire your work and 
taste. 

Price, - iiiS.OO. 

Delivered free in any part of tlic City. When sent out 
of the city, 25 cents extra will be charged for ])acking 
case and shipping. Persons ordering will remit by Draft, 
Money Order, or Postage Stamps. Address, 
JAMES McCALL .t CO., 

48 East 14th Street, 

New York. 



PATTERN PAPER. 

^lodcl patterns, such as we furnish on page .52 and 4)^, 
sliould be cut in heavy manilla jiaper, and for this purpose 
we furnish the following qualities and sizes ; 
Extra Heavy Manilla, .super-calandered, size 22x28 inches, 
5 cents per sheet ; bj- mail, 10 cents per sheet. 



Heavy Manilla, .size 32x48 inches, 4 cents per sheet ; by 
mail, 10 cents per sheet. 

Manilla Tissue, for draping or other purposes, size 50x120 
inches, 5 cents per sheet ; by mad, 10 cents per sheet. 

This paper is equal in size to seven yards of muslin, 
24 inches wide. You may order one or more sheets at a 
time, and pay in jiostage stamps, if more convenient than 
currency. Order direct from JAMES McC.VLL & CO., 
48 East'Uth Street. New York. 



Published isy James ilcCALL & Co., New Yohk. 6.5 



NOTICE. 



The information given in tlie foregoing sixty-four pages, was gathered from the best 
authorities on dressmaking in Europe, prominent among which were, Worth, Moschcowitz 
and Pingat of Paris. Tlie information given in the following thirty pages is taken 
exclusively from ]\Ioschco\vitz of New York. The fame of this celebrated dressmaker 
has spread through every land. It is not surprising that dressmakei's in a high position 
should desire to know something of the system used by this celebrated man dressmaker. 
We have labored foi" months amidst many difficulties to make this work simple and 
accurate. It holds out an elevated standard Avhich cannot fail to inspire the heai't of 
the yoimg dressmaker, and the more experienced dressmaker who A\'ill study its lessons, 
will have her faith strengthened, and her determination fixed to follow in the footsteps 
of this renowned artist. Dressmaking is an art to Ije studied, it cannot be learned in a 
day. Many a mother will be disappointed when she sees how little her daughter may 
know after working a year with a dressmaker ; the time however will not have been 
lost, if she has got a good start in plain sewing, for mthout this knowledge, it is useless 
for any one to follow such men as Moschcowitz, or Worth. In the ai't of cutting and 
fitting, any person of ordinary intelligence with a knowledge of plain sewing, though 
limited, and a taste for dressmaking, Avill be able in a short time to master the details 
of cutting and fitting ; some may accomplish the work in a few days, others may require 
as many months ; patience and perseverence however, -will overcome all difficulties. 
Ever rememl)er that Moschcowitz and Worth, now the (jreatest dressmakers in the 
Avorld, were once as ignorant of cutting and fitting as you are. It Avas by careful study 
and strict attention to little things, that made them what they are ; these two men stand 
to-day as they have stood for many years, the l:)est dressmakers in the world. In New 
York, Moschcowitz is the highest authority on all matters pertaining to fashion. To 
this gentleman we are indebted for the information contained in the following thirty 
pages. We consider it a compliment of no little value to T)e permitted to publish in 
detail the system under which he has worked so successfully, not only this, but we have 
been permitted to dra^v on the expei'ience of all his assistants, a privilege A\hich no one 
else has ever been permitted to enjoy. The result of more than twenty years' exper- 
ience of this celebrated artist, is now at your dis2)osal. If you will study and ]>ractice 
the system as we here represent it, you will be rewarded with ^access. 

AVhile interviewing Mr. Moschcowitz (187 7), he -was asked wliat rule or system 
he cut by, his reply was, "a set of ]>lain waist patterns, a tracing wheel, a pencil and 
an inch measure. " 

It is oiu" purpose to show through the following pages, Moschccnvitz's system 
of cutting and fitting, and ho\\- much may be accomplished from the simidest means. 
The foundation of his system is, a set of plain waist patterns Avith Avhich he produces 
marvelous results. IVofe. — We furnish with the System a set of plain a\ aist patterns 
in the following sizes, 30, 32, 34, 36, 3S and 40 inches l)ust measure ; these are the same 
as those used by Moschcowitz; we also furnish a tracing -wlieel and inch measure. The 
original of these plain waist patterns can be re-produced from the English System 
of draftino;. 



66 



FRFA'Cir SVS'I'KM. 



The Plain Waist Pattern. 





J^ 




TAKiyr; 

TJW MEASUlil'J. 



TO CUT A BASQUE. 

Take three measures, the Lreast, waist, and leugtli 
of waist as follows: jiass a tajie measure ri)und the 
breast close under tlie arms, and aljove the bust as 
represented by the abovecut : draw the ta])e measure 
comfcu'tably tight ; the number of inches ascertained 
will be the breast measure; measure round the 
smallest part of the waist in the same way, and 
length of waist under the arm. 

Select a ])laiii waist pattern ti> enrrespond to the 
measure. If the breast measure is thirty-four inches, 
select a ])attern marked 34; the aliuvo cut rejji'e- 
sents a plain waist jiattern thirty-four inches breast 
measure. In a well jiroportioned figure, the breast 
uu'asure will l)e thirty-four inches, waist measure 
ten inches less or twenty-four inches, and length of 
waist under the arm about seven inches. For the 
liresent these three measures are all that is neces- 
sary; the bust measure ojiposite A will !.)0 explained 
hereafter. This is the first step in the process of 
cutting the Basque, that is, fii-st to ascertain the 
breast measure, then select a plain waist pattern to 
correspond to the measure. The patterns are 



cut in even sizes, from 3!i to 43 iuclies breast meas- 
ure; when the measure is in odd numbers as o:). 
35, 37 etc., select a pattern nearest tlie size; if 
the measure is 33, select a 34; if 35, select a 36, 
and so on, IVotc— We furnish with this lesson a 
comjilete set of jilain waist patterns, the same as 
now in use by Mr. Moschcowitz; these patterns are 
in tlie following sizes, 30, 33, 34, 36, 38, 40 and 43 
inches breast measure. Each pattern is in two 
]>ieces, back and front, same as the above cuts, and 
size marked on each. 

Spfx'ial Cautiox. — The original plain waist 
pattern, should not be cut, changed, or altered in 
any way. It is from these patterns that all l)ody 
garments are cut, such as l?as(|ues, Polonaise, 
Jackets, Cloaks, etc. The following five ]>ages 
will illustrate the manner of cutting the liasquc 
from the i)lain waist pattern — from five to fifteen 
minutes is the time required to cut the basque. 
The next page will show the waist, back and front 
ioined together. 



PuuLLSiiKi) liv James ^IcCai.l & Co., Ni:\v York. 



cr 



The Waist Pattern placed in Position. 




SIZE OF WAIST. 



Take a piece of clean smootli paper, not news- 
paper, over which ])lace the waist pattern in posi- 
tion as represented above. Fig. 3. — Join the 
seam at P and Q. If the pattern is too large or too 
small at the waist, add to, or diminish the size; 
this is done by separating the two parts at Q, or 
overlaping them at the same place. To make the 
pattern two inches larger at the waist, separate 
the points at Q, one inch. To make the pattern 
two inches smaller at the waist, overlap the ^loints 
at Q, one inch. To find the size of the waist, 
measure the paiitern from front to back deducting 
for the darts. If the waist measure is twenty-five 
inches, the pattern slioukl measure twelve and a 
half inches at the lower edge of the waist. "When 
the pattern, back and front is jplaced in jjositiou. 



mark all i-ound the edge with a sharp pointed 
pencil. Cautiox. — Mark close to the edge of tiie 
pattern; when this is done, remove the pattern and 
proceed to cut as follows. See next page. 

Bfote.— Every prominent dressmaker has his 
own niles for placing the darts and dividing the 
seams. Worth, Moschcowitz and Pingat have each 
their rules, and each different and distinct from 
the other; so much so, that a garment made by any 
one of these master dressmakers, can readily bo 
distinguished. Moschcowitz's rules are given on 
the next page, and if remembered, will greatly 
facilitate the work of the young dressmaker. Much 
of the grace and elegance imparted to the dress and 
form are attributed "to these simple rules. 



68 



FRENCH SYSTEM. 



To Form the Seams. 




IIULES FOR THE TOUXG DRESSMAKER. 



Cut the i")attern in four ])ieces as represented 
al)oye. First draw two straight lines fur the piece 
imder the arm; next draw the side seam; this 
seam is formed by the guide which we furnish for 
that purpose. Before drawing these liues, study 
the followiug rules to find the distance hctween each 
jroint; the three spaces at the waist, E F G, should 
he equally divided; the back at II should be one 
and a half inches; the width of the two pieces K 
and L, should be eipial. Rules for the width of 
the darts, are as follows: 

At A, H inches wide. 

At B, 'I inches wide. 

At C. • -J inch wide. 

At D, 3 inches wide. 

At S T U, the distance between the pointsshould be 
nearly cfpial. Where there are two ])ieccs cut un- 
der the arm as represented on next page, the distance 
between the point S T U, should be ciiual. When 
there is only one jiiece cut under the arm as repre- 
sented above, the distance between the seams at U, 
will be a little more than that at S or T. The 
height of the darts are governed by the lower edge 
of the arm-hole. Draw a line from K to W — the 
top of the back dart should be about two inches 
below this line, and the toji of the front dart sliould 
be half an inch lower. Tlie ])oint at W is about the 
centre of the front edge, that is, at half the dis- 
tance between the neck and waist. Caution. — 
The waist of a dress is usually made to ap])ear 
longer than the natural waist; this is done to give 
effect and style to the garment. In doing this how- 
ever, great care must be taken to iirevent wrinkles 
at the waist; it is at this point the nuijority of 
dressmakers fail. The fifteen stars near the lower 
edge of the waist in Fig. 4, represent the natural 
waist; an inch below the stars at the edge, represent 
the waist of the dress; to make the waist one inch 
longer than the natural waist, you must allow for 
spring l)elow the stars or natural waist; to do this, 
citt a fish or strip out between the seams at the 
waist as shown above at X Y Z; cut out half an 



incli at X and Y, and a quarter of an inch at Z, 
also three-quarters of an inch is cut off the to]) of 
the side piece at J; this is to give a rounding full- 
ness over the shoulder lilade. Caution. — In cut- 
ting the side piece, allow half an inch more than 
the pattern at 0, as indicated by the line at that 
point. The following rules giving the distance 
from ])oint to point, should be committed to 
memory; this knowledge is of the highest import- 
ance, and nidisjiensable to the young dressmaker. 
We would urge upon all who study the System, to 
pay strict attention to these rules. 



RULES TO BE REMEMBERED. 

-1^ inches Avide. 
-'i inches wide. 
- 5 inch wide. 
-2 inches wide. 



A,- 
B,- 

C,- 
D.- 

„' f Divide the space equally, that is, make each 
p' r piece at E F and G, the same width. 

h", 1+ to 2 inches. 

J, f inch, cut this off the side piece. 

K, } Divide tlie distance equally, that is. make each 
L, \ piece at K and L, the same width. 

O. -i inch, add this to the pattern. 

S, 3 inches between front edge and dart. 

T. ;i inches between the darts. 

U. 3 to 4 inches between dart aiul seam. 

W. Centre of front. 

X, i inch cut out. 

Y, i inch cut out. 

Z, 5" inch cut out. 

2;^= Ileighth of back dart, two inches below 
arm-hole. 

Jgf^" Heighth of front dart, half inch lower 
than back dart. 

|^=°Tlie above rules are for a medium or small 
size, and may bo changed to suit the fashion, form, 
or taste of the wearer. After reading the rules 
over two or three times, see if you can remember 
the figures by looking at the diagram. 



PrBLisHED BY James AfiCALL & Co.. New York. 



69 



To cut two Pieces under the Arm. 




Fia^. 



o 

A 



i( 



-^ \^ 




V 



K 




iT B C D 



LARGE TUK VAmr. 



In a well proportiniicd figure, the measure round 
the breast above the bii.-t will Ije ten inches more 
than the measure round the waist. AVhen the 
waist measure is only six or eight inches less than 
the bust measure, an extra piece is cut under the 
arm to give the garment a more slender appearance, 
and to prevent wrinkles at the waist. The above 
diagram represents a waist with two pieces under 
the arm. In all larger sizes from 38 inches bust 
measure and upwards, the waist is cut with two 
pieces; these pieces are represented by E P G IT, 
and equally divided; that is, each piece is the same 
width. The back, front and I'a'ts, are divided the 
same as in Fig 4, page 08. The top of each })iece 
J K and L are the same width; there is no special 
rule for placing the front seam in the arm-hole 
near J; the position of each seam as represented 
above, is correct. 

The same rules that are given on page 08, or 



where only one piece is cut under the arm, apply 
to tlie above diagram; where two ])ieces are cut 
under the arm, the distance between the darts at S 
'i' U are about equal. The front seam between 
J and U must be brought near the dart; when 
two pieces are cut under the arm, the space at U 
between the back dart and seam, should be the 
same as the distance between the top of the darts 
at S and T. The distance at A B C and D are 
the same as the rule given on page 08. The pieces 
cut out at the seams N P R and V are a little less 
than the piece cut out at the same place in Fig. 4, 
])ago G8; the stars represent the natui-al waist, 
which is one inch shorter than the waist of the 
dress; care must be taken to give extra spring below 
the stars. The Basque, with two pieces under the 
arm, will be further exi^lained in another part of 
this book. 



70 



FREXCJI SYSTEM. 



Outlines of the Basque. 





TO FORM THE PO.^TTLTON' OR SKIRT. 



TiiK SxARTixr; Poixx. — Wlicn tlio wnist pat- 
tern is cut and divided into sections, separate eacli 
piece and place in position as represented above; 
tlie straight lines below the waist, show the out- 
lines of the postilion. The points from which 
these lines begin, should be retained in the memory; 
they are fully exj)lained in the next page and sirn- 
plificd so that tlie whole may be easily remembered. 
Before drawing these lines, pin a ])iece of plain 
smooth paper to the waist, say nine or ten inches 
long; pin each i)iece separately abmat the size and 
length of the lines below the waist as they appear 
on the above cuts; pin the jueues so they "will not 



move or get out of place. The cuts on next page 
will sliow the basque completed and ready for use. 
A'ole.— After the lines for the postilon are drawn, 
measure the size and length of waist, this is done 
with the inch tape; for length of waist, measure 
the piece under the arm; if the measure is seven 
inches, the distance between A and B should bo 
seven and one-half inches or half an inch longer 
than the measure; if the waist measure is twenty 
inches, the distance from fmnt to back edge at the 
waist should be twelve inches exclusive of the darts. 
Xext page shows the basque com])letc. 



J'['BLrsirF,n by James JfrOAi.L & Co.. New York. 



The Basque Completed. 




FIG 6. 




The above cuts represent the waist with postil- 
ion added. To form the skirt, draw a straiglit 
line from point to point; begin witli the front as 
follows: draw a line from Y to 2; if more fullness 
is wanted below the waist, draw the line from X to 
2; for less fullness, draw the line from Z to 2. 
To form the darts below the waist, continue the 
dart lines from the waist to the bottom, or eight 
inches below the waist; the spaceat J and K should 
be about the same as the sjiaee at B and D. The 
piece under the arm is formed by drawing a line 
from 3 to 4 and 5; the side piece is formed by 
drawing a line from to 7 antl 8; the point at 
is about three inches from the top; the bacK is 
formed Ijy drawing a straight line from 10 to 12 
and 14. When the lines are drawn, it is necessary 
to give shape and form to the different parts; these 
lines and points are not to be considered absolutely 
perfect, they are simply to be used as a guide and 
may be changed according to fashion or circum- 
stances; the length of the skirt is a nuitter of taste; 
the shape of the postilion is a matter of style or 
fashion; with a little practice, the plain round 
basque, as represented above, may be readily altered 
into any shape or style desired; the polonaise is 



formed by continuing the lines P Q R S T U and 
W; the twenty-five stars show the length of natural 
waist; the lines directly under the stars show the 
length of dress waist, which is about one inch below 
the stars or natural waist; the most difficult part 
to fit is at the waist or a little below the stars. If 
the dress is too tight at this part, that is one or 
two inches below the waist, wrinkles will appear in 
a direct line with and below the stars. To Facil- 
itate THE Cutting. — Pin a ] ijce of plain smooth 
paper to the lower edge of each piece of the jjlaiu 
waist pattern; the size of the paper should be in 
proportion to the length of skirt; if for a polonaise, 
the paper must be quite large, if for a basque, the 
paper shouid be ten or twelve inches below the 
waist. It is safer to place two pins at each part 
of the waist to hold the pieces in place. 

Xote.— For corpulent people, little or nothing 
should be cut out at the darts below the waist at 
J and K, and in addition to this, one or two 
inches should be added to the front edge at I. On 
no account should the dart be cut out until the 
garment has been fitted. In very high or large 
hi]is, the jiiece at L should be cut wider. This 
will be more fully explained hereafter. 



rKEKClI SYSTEM. 



Art of Bastings and how to avoid Wrinkles. 



f i 



\ 



\ 



X-. 



I pi) j 




Ci) 



mm 



IS 



^^ 



■^^^ 



cn'TTXG ruK UNTxa. 



Take tlie -wai.-^t of a dress talit has liccu worn 
six montlis cir a vi'ar, rip it apart and ci)nii)are the 
old lining with the original pattern from wliieh it 
was cut; there will he little or no resomhlance; the 
old lining will he stretched in one plaee, and shrunk 
in another; it will be shapeless, and without form. 
Go one step further — cut a lining from the old 
waist, make it up, note the result — it will not fit. 
The difficulty is not in the cutting, nor in the 
making, but in basting and stretching the seams. 
Not only Mr. Moschcowitz, but all good dressmakers 
take a lesson from these old shajieless waists, and 
in cuiting, fitting, basting and making up, they 
try to make the new waist as much like tiie old one 
as ]K)ssible, that is, the scams and different j^arts 
of the waist must be stretched and basted in such 
a manner as to yield to the natural shajjo and 
movement of the body, otherwise it will not fit; it 
is to this stretching, fulling and basting, that we call 
your attenticni. and in which consiststhe art of bast- 
ing; without a knowledge of this art, you cannot 
succeed as a fitter. We will begin then with the 



lining. If you learn nothing more tlian the lesson 
on pages T'i, 73, 74 and 75, you will be well 2>aid for 
the money you have spent for the System. 

Figs. 1, 2. 3 ;ind 4 represent the lining for a 
plain round basque; this lining is cut from the 
pattern represented on page 71; seams are allowed 
on the lining, also a laj) in front; no seams or 
laps are allowed on the pattern, it is therefore nec- 
essary and important that seams and laps are 
allowed as represented above. Caution. — The 
dart ])iece should not be cut out of the lining or 
material until the seams are sewed and ready for 
the whalebones. A and B show the darts cut out; 
this should not be done. IVole.— The lining 
should be cut on the double fold; mark 
round the edge of the pattern with a tracing 
wheel: see that both sides of the lining are 
marked at the same time. If you have no tracing 
wheel, use the point of shears or some sharp pointed 
instrument to pierce the lining. Next page will 
show how to cut the material. 



I'l iii.jsiii:ii i;y .Iamks MiI'ai.i. & Co., \i;\v York. 



73 



Art of Basting" and how to avoid Wrinkles. 







CUTTmn TUE MAThmiAL. 



Place cacli piece of the lininr;' separately on the 
material; do not cut the material close to the edge 
of the lining — block it out as represented above: 
when cut, pin each part, lining and material, to- 
gether; T\-hen pinned, role each up separately, read^• 



for basting. In this way there will be no danger 
in cutting two ])iccGS for one side, or having the 
])iece mixed or changed. The fullness in the lining, 
at and near the wai.st, will be explained on next 
1 lage. • 



74 



FEEXCII SYSTEM. 



Art of Basting and how to avoid Wrinkles, 




TiASTryO TnE LIXING AND MArpJIlTAL. 



The lining should be liuld half an inch full on 
the material, at and near the waist, as represented 
by the above cuts; for this juirpose the lining should 
always be cut half an inch longer than the outside. 
To baste the lining and material together, begin 
with the front — always start at the top of front 
at A; baste down to the top of front dart; run the 
stitches an inch apart, basting through, the 
centre of the dart to the bottom. In the pro- 
cess of basting, hold the lining a little full at the 
waist as shown above; tliis may lie done witJi a slight 
upward movement of the thimble of left hand at 
each stitch. The second dart should be basted in 
the same way, beginning at the t(j]i at C. and basting 
down to the bottom. After tlie darts, baste all 
round the edge from E to F, and from F to E; the 



left side should be basted from F to E as repre- 
sented above; the right side should l)e basted from 
E to F. The above engraving shows the left 
side of the waist. Kun the basting stitches as rep- 
resented above, about an inch from the edge, and 
stitches one or two inches long; the jiiece under 
the arm, the side piece and back, are all basted in 
the same way. Take the stitches as represented on 
the engraving, hold the lining half an inch full 
at the waist on each piece, the same as in the 
front. When each piece is basted, trim the edge 
and overcast, as shown above; the overcast stitch 
should not be drawn tight. The order of basting 
the front is as follows: from A to 13 — from U to D — 
from F to E. 



Published by James McCall & Co., New Yoke. 



75 



Art of Basting and how to avoid Wrinkles. 





BASTING THE 8EAMP. 



When each piece of the lining and material are 
basted together, and tlie edge overcast, you will 
be ready for basting the seams. The letters and 
stars on the above engraving show how each seam 
and cacli part of the seam is to be treated. Begin 
with tlie dart seams, starting at the to]i, never at 
the bottom — these seams sliould be basted perfectly 
plain from top to bottom, stitches f(nu' to theincli. 
Next in order is the piece under the arm; tliis jiiece 
must be basted and sewed quite ])lain; before bast- 
ing however, the two seams at E and F must be each 
stretched about half an incli directly opposite the 
stars, or three inclies above the waist; this will 
prevent wrinkles at these points. In basting the 
piece under the arm, commence at the toj), never 
at the bottom. In basting tlie side seams, the 
edge opposite the small dots at G, must be basted 
easy, but not full; on the side piece, baste the seam 
perfectly plain below the dots — always baste the 
seam with tlie back next you; baste the right side 
first, starting at the toj). In basting the left side, 



first fasten the seam with pins, Iwo inches apart; as 
you baste remove the pins. In basting tlie shoulder 
seam, stretch the front between A and A three- 
quarters of an inch, or hold tlie back opposite tlie 
dots at H full on tlie front. In pressing the seam, the 
fullness will all disappear; tlie object of this is to pre- 
vent wrinkles in front between the neck and should- 
er; the arm-hole round tlie stars at J, should bo 
stretched until the edge turns over; this will pre- 
vent wrinkles in front of the arm-hole; the edge 
at W W is liable to stretch in sewing in the sleeve; 
to prevent this, a thread should be run near the 
edge to prevent stretching; the dots at K mark 
the position where the sleeve is sewed full in the 
arm-hole. If the seam in the centre of the back 
is stretched during the process of basting, sewing, 
or pressing, it will materially affect the appear- 
ance and lit of the dress; see lesson on pressing the 
seams. Witli the next page, we begin Moschcowitz's 
system of fitting. 



:(j 



.FRENCH SYSTEM. 



The Model Waist Lining. 






K- 



»i 



X 



I iSl'. 




a4) 



■a 



Pi 

i i 

i ! 



/ / 



/ / 



A 



i„i 




FBENGII on MOSVnO. SYSTEM OF FITTING. 



Wc liave MOW cnmo to tlic most important part 
of the work, namely, ]irci)aring the mo(h'l waist 
lining, taking the impre.ssi(.m and transferring tlie 
impression. "We have ah-eady exphiined Mosch- 
cowitz's system of cutting and basting on pages CO 
to 75 inclusive; garments cut by that or any other 
system now in use, must be refitted or tried on 
from one to three times during the process of 
making. We have now to exjilain Aloschcowitz's 
system of fitting, or rather taking the impression 
from which a dress can be made and sent liome 
complete without refitting or trying on. 

Directions.— Every season, tliat is every six- 
mi inths, cut a new set of plain round basque patterns 
in all sizes, say 30, 3'2, ;U, 30, 38, 40 and 43 inches 
breast measure; these jiatterns should bo cut in the 
latest style, and the size marked on each piece, as 
shown above. From this set of patterns, cut a set 
of model linings, that is, one of each size; these 
linings should be cut from common but good 
bleached muslin and exactly like the i>attern; allow 
for seams and laps as none ai'c allowed on the pat- 
tern. Mark the size, that is the breast measure 
on each waist, sew uj) the seams Avith a fore and 
back stitch so the waist may be prepared and ready 
for use at a moment's notice. A complete set of 



these model waist linings should always be kept on 
hand; as soon as one is used, another should be 
nuide to take its place. The model pattern rep- 
resented on jiage 71, is wluit we call the model or 
standard ])attern, and from which all other jiatterns 
arc cut. These ])atterns should be renewed, altered, 
or changed every season. It is from these patterns 
the model waist linings arc cut. The above engrav- 
ing represents a model lining, size 34 with scams 
and laps allowed — the darts at A and B, should not 
he cut out. When a lady calls to be fitted, take the 
breast measure only; select a muslin model waist to 
correspond in size to the breast measure; fit it on un- 
der the dress, as seen on page 78. Fasten the front 
with pins au inch apart; when the front is properly 
secured examine carefully every part that may re- 
(piire alterati(m, pin tlie parts to be altered until 
you have the model to fit as jierfect as you want the 
dress to fit; this is what the French call taking 
the imj)ression, and as the impression is taken so 
the garment will be when finished. After the 
model waist is fitted, it should be removed with all 
the pins in it. The im])ression or shajie given to 
the model waist should now be transferred to tlu' 
lining. On next page we slmw liio manner of 
transferring the impression. 



PuBLisHKL) BY James McCall & Co., New Yokk. 



Gutting the Real Lining. 



r 




TRANSFER THE IMPRESSION TO THE LINING. 



The iiI)ove diiigram shows tlie manner of trans- 
ferring the impression to the lining. When 
the model waist is fitted, rip all tlie seams apart 
without stretching; first crease the edge as close to 
the alterations as possiljje with both hands, between 
the forefinger and thumb; crease exactly where the 
pins are placed to indicate the alterations; take 
each piece of the model waist separately, beginning 
with the front; spread it on a taljle over two thick- 
nesses of lining; it must be S]iread quite smooth; 
fasten all round the edge outside of the crease or 
seams, this is done with ])ins, which should be driven 
through the model and lining into the pine table. 
The pins should be placed three or four inches 
apart, or close enough to hold the lining and model 
firmly and smoothly. When this is done, mark or 
pierce through the lining all round the edge, ex- 
actly in the seam or crease, say, less than an inch 
apart, with the point of shears, or some sharp instru- 
ment; pierce so that the marks will show distinctly 



through both sides of the lining. The l.iack and 
all other pieces belonging to the nu)del waist should 
be treated in the same way; remove the pins and 
cut the lining, allow for scams and laps everywhere 
except round the arm-hole. If the model "waist is 
projierly fitted, and the impression ciu'rectly trans- 
ferred to the lining, there will be no need of refit- 
ting or trying on. In Moscheowitz's dressmaking 
establishment in New York, they rip the shoulder 
seam and dart seams only, and i;se a tracing wheel 
instead of a pointed instrument; they do not crease 
the seam but run the tracing wheel close to the 
seam over the stitches; this is a much quicker way, 
bnt requires more care and skill to accomplish the 
work. The dark ground work on the above cut, 
represents the double fold of the lining, over which 
the model waist is pinned. Run a tracing wheel 
j over the back or dotted lines, and the work will 
' be com]ileted. The diagrams on the following 
I pages will show how to take the impiression. 



T'? 



FREXCH SYSTEM. 



Fitting the Model Waist Lining. 




Fis. 1. 

TAKING THE IMrRESSION. 



Fitf. 2. 



Taking the mea:<ur(_' or iiii|irfssii)n, forin.s an 
important part iu the French or Moscho. system. 
If tlie following directions are !<trictly adhered to, 
you will have little or no ditKculty in cutting and 
fitting without the necessity of retitting or trying 
on. VVe will suppose that you are provided with a 
complete set of model waists the same as described 
on jiage 70, with the seams all sewed uj) ami the 
size marked on each, ready for use. When a lady 
calls to be fitted, take the breast measure only, 
that is the nu^asure above the bust as described on 
l)age 66. Select a model waist lining to correspond 
to the measure; lit it on under the dress as repre- 
sented above; fasten the front with jiins an inch 
apart. Fig. 1 represents a model waist fitted. In 
this case the dress would be cut exactly by the 
model lining without variation, as the model fits 
perfectly and requires no alteration. In Fig. 3 the 
model waist is exactly the same as that represented 
iu Fig. 1. On this figure the skirt is bouffant, 
consequently the postilion requires to be fuller, as 
represented in tiio figure. It will be seen that the 
back and side ])iece below the waist is too small and 
must be enlarged; mark the front with a ]ieneil 
exactly where the two edges meet. If the neck is 
too low, or the shoulder too short, pin a piece of 
muslin to the part deficient, and cut to the size 
required; this piece should remain on the model, 



firmly secui'ed witli jiins; all other parts requiring 
additional cloth should Ijo done in the same way. 
When the model is jjroperly fitted it should be 
removed with all the pins left in. except in front. 

To cut the dress for Fig. 1, rip the model waist 
apart as directed on page T6; cut the lining exactly 
like the model waist, as directed on i)age 77. If 
any different style of liasipie is wanted, the varia- 
tions can be made without affecting the fit <if the 
garment. The garment for Fig. 'i is cut the .same 
as for Fig. 1 , except l)elow the waist at t he three back 
seams; these alterations should be marked before 
the model waist lining is removed. 

When the model waist fits the figure perfectly, 
as seen on Fig. 1, or nearly so, as seen on Fig. 3, 
the garment may be cut by the model pajier jiattern, 
instead of the model waist lining; this will save 
time in cutting, i)rovided extreme care is taken in 
marking and cutting by the model pattern. There 
are eleven seams or twenty-three edges in a waist; 
the width of a iiencil mark if allowed on each edge 
will nuike a diii'erence of nearly two inches on the 
width of the waist. It is on this account that 
nearly all beginners, in cutting by the French Sys- 
tem, make tlie first garment too large. It is only after 
re]ieated trials that they realiz^i the effect of the 
width of a pencil mark. 



PriiLisiiED BY James McCall & Co., 48 East 14tii Stkeet, >,'e\v Yokk. 



Fitting The Model Waist Lining. 



:9 




3. 



ris. 4. 



TAKING THE IMPRESSION. 



On page 78 we described two waists fitred, one requiring 
no alteration, tlie otlier with a very sliglit alteration. We 
have now to explain a more diffieult form of fitting — large hips 
icith small iraisf. Figs. 3 and 4 represent the same bust 
measure fitted with the same model waist. They appear 
here exactly as they appeared wlien fitted. The measure 
was taken, the model waist was selected to correspond to the 
measure. When fitted on, the waist appeared exactly as 
represented in Fig. 3. The two side seams were ripped from 
the bottom to tlie waist; immediately the seams sjiread 
apart, and the wrinkles disappeared, the front and back 
seams lapped each other two inches (see Fig. 4). Fig. 3 
shows thai the skirt binds over the hips, causing wrinkles to 
appear above the waist. To tit this model waist, rip tlie two 
seams under tlie arm, from the waist down; allow the skirt 
to fall natural over the hips, fill up the gap with muslin; 
see the illustration on page 80; fasten witli pins on botli 
sides to keep the whole in place; the back and front pieces 
are too full, and must be pinned down to give the proper 
shape. When the model waist is fitted, as you would have 
lUe o-arment to fit when finished, it should be removed with 
all the pins in it; see that every alteration is distinctly 
marked. 

To transfer the impression from the model waist to the 
lining, see directions on page 76; to fit the sleeves see page 
89. Fig. 4 shows the model waist partly fitted. The pos- 
tilion, that is the back skirt, is too full, and laps over; the 
same fault is in the front ; the side piece is too small over 
the hips. The space should be filled up with muslin, pinned 
to each side, so as to get tlie proper shape and spring over 
the hips; the muslin should remain pinned to the model 
until the impression is transferred to the lining. It is im- 
portant in fitting, that not only the width but the proper 
shape should be given to the side "pieces below the waist, 



ART OF BASTING. 

The importance of proper attention to basting, forces us 
to again call attention to that part of Moschcowitz's s3-slem 
which relates to basting, and to impress mo.st emphatically 
upon the minds of all who desire to master the art of dress- 
making, that it cannot be done unless the learner is 
willing to study and practice that lesson with the care and 
attention it demands. Even when a waist is cut w itli exact 
precision, if carelessly basted, it is spoiled, for tlie materials 
will draw and pull, and form wrinkles where none should 
be, be tight where it .-liould be easy, and look at once slov- 
enly and unworkman-like, whereas a waist that is properly 
cut, and liasted with care in all the minute points, will fit 
without a wrinkle. 

It is utterly useless for anyone to attempt to study dress- 
making, unless that person has the patience and industry tc 
learn the art of basting thoroughly. Ten minutes careful 
basting will obviate two or three hours ripping and changing 
and a dress never fits nor looks so well that has been pulled 
apart for alterations. The reason why gentlemen dressmakers 
attain a higher position in their profession than women, is, 
that they pay the closest atteuticm to these details, and a 
waist in course of construction under their hands is basted 
exactly as the model lesson indicates. No person can ex- 
pect to master the French System unless they have the will 
and determin.ation to master the details, which is the funda- 
mental principle of perfect dressmaking. Of all the lessons 
in the Instruction Book, we consider tlie one on ba.sting the 
most important. If you can learn but one Jcsson, let that be 
the art of basting. 



80 



frp:\('ii system. 



Fitting The Model Waist Lining. 





litf. 1. 






TAKiya riiE nipnEssiox 



Oil pages 78 to 81 we sliow six fit;'urc>;, all of 
which havo the same breast, Lust, wai^it and hip 
measure — while the measures are the same, ]io two 
are alike. <>u the^e there are seven distinet forms 
o''a't''ratioiis; it is to these and similar allerations. 



that gives Id ilic Freneh System of litting the 
advantage ovei- all other systems now in use. The 
above Figures 1 and 2 show the model waist lining 
in process of fitting. 



Published by James JIcCall & Co., 48 East- 14tii Street, New York. 



81 




Fig. 3 ropreseiUs the luanner cil' litting the model 
sleeve. Directions. — Proeiiro three sleeve pat- 
terns, small, medium and large; these should be 
cut from heavy manilla paper; from each of these 
patterns, cut a model sleeve, that is, cut one sleeve 
from each pattern from common bleached muslin, 
sew the seams and mark the size on each sleeve, 
ready for use. When the model waist is fitted, 
and before it is removed, fit a model sleeve as seen 
above. Pin the top of the sleeve to the arm-hole. 



rai-'e the arm. Ijeiid it forward, alter the position o 
the pins until you get the sleeve to fit perfectly 
remove the model waist with the sleeve pinned to it 
mark the position of the seams. The alteration, if 
any. on the sleeve may be marked with pins; see 
page 80. Fig. 4 and 5 are photographs of the same 
waist; one was taken licforo the scams were pressed, 
the other after; each engraving explains itself; 
every seam of every garment should be pressed; see 
directions for pressing the seams. 



FHENC'II SYSTEM. 




Fis. 1. 



Fig. i. 



Tig. 3. 




Fig. 4. 



Fis. 5. 



Published by James McCall & Co., New York. 



S3 



y 



Fig. 6. 



-M 



A , 




(.-•' 



L 




WRINKLES AT THE WUST. 



When the breast measure is under 30 inches, 
cut the basque with one })iece under the arm as 
represented on pages G8 and 71. When the breast 
measure is 38 inches and over, cut two pieces under 
the arm as represented on pages 69 and 83. In 
any ease where the waist measure is large in pro- 
portion to the breast measure, cut two pieces undei- 
the arm. In figures 3 page 82, the garment is two 
inches too tight; in Fig. 5 the garment is an inch 
too tight in front at the waist, and two inches t<jo 



tight at the lower point. The alterations are shown 
in Figs. 1 and 4. Tlie above diagram Fig. 0, is the 
style of pattern t(.) be used for stout figures, or large 
waists. In fitting by the Frencli System, the model 
waist will show all defects, and alterations can be 
made accordingly. The aljove bas([ue pattern is 
cut from the plain waist; seepage G9. The width 
of each piece at A B C and D should be tlie same; 
all other parts should be governed by the rules on 
page 68. 



SI 



FUENCIT SYSTEM. 



Fig. I. 




'.c 



V 



D 



SHORT ROUND SKIRT. 

Fig. 1. rcpresoiits ;i plain rouiul skirt with four 
gores, one full width in front .-uid back, and one each 
side. The centre of front and back width should be on the 
double f<dd; the length of the l)ack and the width round the 
bottom should be the same. A, B, represent two and one-half 
inclics cut from each gore extending lifteen inches below 
th.e waist. For large hips, a gore is cut out at P. 
Sometimes tlie gore is cut to the bottom as represented on 
figure 15, page CI. At F, half an inch is cut otf the front as 
shown in the cut; the three stars at back and front, indicate 
the double fold of the cloth. The skirt represented by Fig. 
B, page Gi, was cut from tliis diagram; the side gore was cut 
in tlic centre, making two gores instead of one. 



Fig. 2. 




DEm-TRAm SKIRT. 

Fir,. 2. — Tiic length of ademi-train skirt 
is a matter of taste. It may be six or sixteen 
inches longer than the front. The adjoining 
cut rcjn'csents a demi-train with six 
gores, one full gore in front and back, and 
four side gores. A, B, and Prejiresent small 
gores cut at the waist. Two and one-half 
inches iscutoffeaeh side at A and B extend- 
ing fifteen inches lielow the waist; at P, one 
and one-half inches is cut from each side 
gore extending eiglit inches below the waist — 
half the entire width round the bottom 
should bo the same as the entire length of 
centre of back. The stars in front and back 
width show the double fold of the material. 



F 



.A'B 




(-1 



1/1/ / ///// / I 




' TR.MN SKIRT. 

¥in. 3. — There is no limit to 
the length of a trained skirt; 
the usual length is about sev- 
enty inches, or thirty inches 
longer than the front. Fig. 
3 shows the train skirt with 
six gores; it is the same as 
the demi-train. only longer 
and wider; the length at the 
back should be the same as 
the width at the bottom. 
This diagram will show the 
style of cutting the gores. 
The back and front gores are 
cut on the doulile fold. Fig. 
A on jiage 61, shows a trained 
skirt with waist attached. All 
skirts are cut on the same prin- 
ci})le as represented abovt. 



Published by James McCall & Co.. Xr.w York. 



85 




Fig. 1. 



Fis 



2IIE POLONAISH 



The above cut, Fig. 1, shows two darts running 
to a point ten inclies below the waist; this is the 
usxial way of cutting tlie pohjnaise and piriueess 
dress. W hen the dans are sewed up, the lower points 
have a tendency to bag which detracts from the ap- 
pearance of the garment. Fig. 2 shows the darts 
cut six inches below the waist; when sewed up, a 
small plate is formed at the lower point, which is 
allowed to take care of itself, and generally falls 



in line with the drapery, and is not noticed. Mr. 
iloschcowitz is cutting the polonaise and princess 
dress in this style. The above diagrams are taken 
from the latest models. For large waists, the darts 
should be made smaller, and one inch extra should 
be allowed in front from the bust to the bottom. 
The polonaise is cut by the basc^ue pattern on page 
71, simply by extending the seams below the waist, 
and allowing for draping. 



81! 



FRENCH .SYSTEM. 




Fig. 1. 



Fis. 2. 



The (.-(lat iir ciil-away jarkct.as represented 
above, is cut from the muilel l)as(iue jiattern on 
page 71. The measure should be taken the same 
as for a basque, only larger. Fig. 1 sliows a per- 
fect fitting Jacket; Fig. 3 shows the same jacket, 



fitting badly, a.s it is too tiglit beloAv tlie -waist. 
Add half an inch to each seam at A Band C; tliis 
will give the necessary sjiring over the hips, as shown 
in Fig. 1. For further instructions, see page 4G. 




THE SKIRT. 



Fiii. A. — 'i'hi,^ cut i-cpresi'utt; ilic Everett 
Patent Adjustable Dress Fkiure for nieiliuni 
size. It ciui 1)0 expanded from six to eight iiiclies. 
Tliis form i.s made in four sizes, small, medium. 
largo and extra large. The medium is the size 
used by dressmakers, and represented above. 
These adjustable figures have special advantages. 
They are made from the first quality material, 
neatly bronzed front and back. Japanned base and 
knob, mounted on casters, are of ])erfect shape, 
can be raised or lowered, so that the artist can 
stand or sit when trimming or draping the skirt. 
The figure will soon i)ay for itself in the saving of 
the time lost in taking ladies from their work to 
drape and trim skirts. It also gives to the dress or 
suit a full, round and perfect form, thereby allow- 
ing the patron to admire your work and taste. 

Fiii. B illustrates t!;e correct shape which 
should be given to the skirt. For cutting the 



skirt .^ec page .S-1. J''or large sizes the figure sliould 
lie })added to the rei(uired size and shape. These 
pads are made in the form of a short petticoat ; 
each separate ]iiece or petticoat is quilted the same 
as an ordinary quilted skirt. They are tied or 
l)inned round the waist ; sometimes five or six of 
these quilted petticoats are used on one figure, to 
get the reqttired size. 

Fig. C represents the ligure padded ; by adding 
liicse pads the skirt maybe extended to any size. 
In this way one form can be used for all sizes. 
The Train and Di:mi-train 8kirt is made over this 
form and extended to the requircil length. 

The jirice of the Everett Adjustable Fit;- 
URE is %"! to those who have bought the French 
System : to all others, $8. Twenty-five cents extra 
for packing if the figure is to bo shipped. Remit 
the amount with the order. Address : JAMES 
McCALL & CO., 48 East 14th Street, New York. 



THE SLEEVE. 



[fOPYRKiHTEI) BY .)a>(ES McC'ALX. vt t'u., 1881. ^ 





Fig. i. 



The Sleeve. 



There is not one dressmaker in ten, probably not one in twentj', tLiat understamls cutting, fitting, 
making and sewing iu a Sleeve properly. How often do we see the entire dre.ss disfigured by a baggy or 
strained Sleeve, and the owner is constantly reminded of its faults, by discomfort iu wearing and tne eye 
of the critic. The Sleeve is the most difficult part of dressmaking, and the part least nnderstoocl. 
Beginners, iu learning to cut and fit, pay little or no regard to the Sleeve, they are satisfied with ouc Sleeve 
pattern, from which they cut all kinds of Sleeves for all kinds of garir.ents, the result i.>, as might be 
expected, in many cases, the garment is spoiled through a bad-fitting Sleeve. Most, if not all, of the 
information given iu the following pages, is taken from the best and most experienced men dressmakers 
iu Eurojie. From a careful study of these lessons, you cannot fail to derive both-pleasure and profit. 
"While the cxperieuccd dressmaker will here find much to benefit and strengthen her position, it is not 
for Iier alone that this part of the work was beguu, but rather f(ir the licginncr or young dressmaker 
who will find the illustrations and explanations so plain and simple, that with a little practice, little or no 
difficulty will be experienced in making a perfect-fitting Sleeve. 

Fig. 1 shows a bad-fitting Sleeve, such as may be seen every daj-, woru by ladies iu all stations in 
life. All that is wanted to malie this Sleeve fit, is to rip the top and allow the Sleeve to fall from the 
shoulder to its natural position on the arm ; the top of the Sleeve requires to be more rounding. 

Fig. 3 represents the same Sleeve ripped at the top, showing where the necessary alterations are to be 
made ; fnnn an inch to an inch and a half must be added to the top at the most rounding part, running 
to nothing at the back and fore-arm seam. 



THE SL.EEVE. 



IcorVKIGIITED BY Jam McCall & Co., 1881.) 





Fig. 3. 



Fig. 4. 



The Sleevei— Continued. 



Fig. 3 represents a Sleeve in process of fitting; ■when tlie garment is completed all but sewing in the 
Sleeve, it should be re-titled thus : Fit on the garment without Sleeves, then fit tlie Sleave over llie arm, 
pin tlie top to the arm-hole a.s seen in Fig. 3 ; when pinned, raise the arm, bend it forward. U the Sleeve 
draws or -wriuliles unnaturally, change tlie position at (he top by re-pinning until it fits perfectly. See 
that the elbow is in the right place. In fitting the Sleeve, it is not necessary to fit on the person for whom 
the dress is intended ; select some one near the size. The object is to get tlie Sleeve in proper shape, and 
the fullness in the right place. Before fitting the Sleeve, tlie arm-hole should be prepared for the Sleeve, 
and the Sleeve for the arm-hole. When the Sleeve draws at the top near the arm-hole, it is caused by the 
fore-arm seam being too high or too low in the arm-hole, or the top of the Sleeve not rounding enough. 

Fig. i represents the back of the Sleeve, showing wrinkles at the top near the back arm-hole, which 
are \inavoidal)le, except in the French Sleeve or one that is tight fitting. When the Sleeve is tight fitting 
back and front, from shoulder to cuff, the arm cannot be raised above a level ; when the Sleeve is made 
to allow the hand to be raised aliovc the head, more or less fullness will appear at the back near the 
arm-hole as seen iu Fig. 4. It is no fault in the Sleeve to have a little fullness at the back, as represented 
above. 



THE SLEEVE. 



IcOPYHKiHTl'lt BY JaMKS McCaI.!. & <'().. 1881.] 




THE SLEEVE.— Coiitiiuied. 



Fig. 1 illu.4r;ites the English Sleevr. Tliis Sk't'vc should be ii^rd for uU kinds of tight body garments, sneh as 
Polonaises, Bas(iue.s, etc. The top should be cut two inclies larger than the arm-hole ; the fullne-ss should be gathered 
between the stars ; the double row of stars show wherethe most fullness should be placed. If the Sleeve is too full, lay a 
small pleat under the arm at .1. It is better, however, to eul the Sleeve the exact size wanted. We recommend this Sleeve 
for all kinds of tight-fitting garments. The upper part of the Sleeve should be gathered or fulled in about half an inch a', 
the elbow between the stars : this will make a better fitting Sleeve. 

Fig. 2 illustrates the French Sleeve, used only in light-titling body garments, sucli .is Basques, Polonaise, etc. 
Beginners should not attempt to use this Sleeve until they are well advanced in cutting, and more experienced dressmakers 
should use it witli caution. The under part of the Sleeve is cut narrow so that the back seam will come directly under the 
arm ; the upper part of the Sleeve is cut nearly two ir.ches longer on the back .seam than the under part ; this is fulled in 
at the elbowbetweeu the notches. When this Sleeve is projierly made it will fit like a glove on the arm. tight and smooth 
from top to bottom. The fullne.s.s should be exactly at the point of the eli)ow. The top of the Sleeve should be cut 
ie.ss than two inc'.ies larger than the arm-hole, and held full on the most rounding jiart. 

Fig. ;!. 'I'he plain Sleeve, as illustrated by Fig li, should lie used for Saecjues, Cloaks, Ulsters, and all kinds of heavy 
outside garments. The Sleeve at the top should be cut one and a. half inches larger than tlr,- arm holi-. and gathered or 
sewed fidl between the stars ; most of the fullness should l)e placed between the double row of stars. If tlic Sleeve is too 
large for the arm-hole, lay a pleat in the under Sleeve at .1. This Sleeve .should be the .same width from the elbow to the cuff. 

Fig. 4 represents a Sleeve with seams sewed ready for lilting, or .sewing in. Cvution. — When the fore-arm seam at 
the wrist turns round towards the top, it Is caused by liad b.isting ; wlien the upper point of the under sleeve at 7'^ is cut too 
long and basted even with the top of the upper Sleeve, it will throw the fore-arm seam at IT too far over on the top. This 
is the cau.se of great annoyance to dressmakers, especially to beginners ; to prevent this, baste the upper and imder part 
of the Sleeve perfectly plain, except at the elbow. If the under part is too long, cut it off at the top at F, not abruptly, but 
gradually, towards the fore-arm seam. C.vhtion. — If the jioint at F is not cut off, b\it bnnight down and sewed in with 
the upper part of tlie Sleeve, it will throw the fore-arm seam at // over towards the top. Extk.v C-\utiox.— The fullness 
should be over the elbow at B and not below, as indicated by the cut at ('. 

Note A. — The Sleeves represented by Figs. 1 and 4 are llie same : this is the style of Sleeve u.scd by many of 
the leading dressmakers in Europe. If the upper part of the Sleeve is held a little full at the elbow, it will improve the fit. 

I^OTE B. — Before the Sleeve is sewed in, the edge should be overcast, lining and material together, stitches six to the 
inch : the top or rounding part should be gathered with a runiung or overcast stitch 



PUKLISIIEI) ]5Y J.VMES McCaLI. & Co.. >,' KW YuUK. 



[COPYRIGUTED BY JaME? ^IcCai.t, . 



CUrTIXa THE SLEEVE. 

The ailjoining culs -1 A show how to place tlio Sleeve on the material. The 
back jfi-ound B C rcpresenls the material from which the Sleeve is cut : B B II repre- 
sent the two selvage edges, and (JC V represent the double edge of the material. 
To cut the Sleeve, (irst double the material, selvage to selvage, then place each part of 
the Sleeve so that the two points .Y 3' will toucli the selvage. If the material is striped 
the two edges on the back arm Orhould run even with the stripe, regardless of the 
points at JV N. Allow for .seams; the seams on the back arm sliould be a full inch, or 
large enough to allow for alterations it need be ; tliis is particularly necessary in cutting 
a tight .sleeve. The back seam of the Sleeve should be sewed by hand, as the sewing 
imtchine is liable to leave its mark where alterations are made. 

FITTING THE SLEEVE. 



&i 



In lilting the Sleeve for the Polonaise, Basque, or any tight-fitting garment, use 
the English Sleeve jjattern, Fig 1, page 90. In cutting tlie Sleeve, first ascertain the 
size ofihe arm-hole, then cutlhe top of the Sleeve two inches larger, that is, if the 
measure round tlie edge of the arm-hole is sixteen inches, the combined measure 
ro\md the top of the upper and under part of the Sleeve should be eighteen inches. 
When the Sleeves are made, or rather when the seams ait sewed, lit one Sleeve over 
the arm in the same manner as we have illustrated in Fig. 3, page 89; pin the top to 
the arm-hole from seam to seam with pins an inch apart; raise Ihe arm to the height 
of the bust; bend it forward or backward; if the Sleeve draws or strains at the elbow, 
remove the pins at the back or alter the position at the elbow. Great care should be 
taken to have the fullness in the right place; in nine cases out of ten, bad fitting 
Sleeves arise from this cause alone. If the Sleeve wrinkles across the top change 
the position of the .seams, especially the front seam; pin the fullness over the most 
rounding part. If the sleeve is too wide takeiu the front or back seam by pinning 
all the way down. Before the Sleeve is removed mark distinctly on the arm-hole 
the position of the seams and fullness. 



TIGHT FITTING SLEEVE. 

To make a tight Sleeve, measure the arm, cut the Sleeve one inch larger than a 
tight measure. A tight Sleeve should press gently on the arm. It the arm is small, 
cut a separate interlining from alpaca, cut on the bias; sew this between the lining 
and material ; the alpaca when cut on the bias gives the Sleeve a better shape. When 
the arm is round and plump the French Sleeve" can be used to advantage; for small 
arms use the English Sleeve. 

THE SLEEVE. 



The fitting, making and sewing in the Sleeve is one of the most difficult tasks a 
dressmaker has to contend with, not when she sews it in herself, but when entrusted 
to inexperienced hands. The Sleeve should be prepared for the arm-hole, and the 
arm-hole for the Sleeve. Cut the lining for the Sleeve exactly like the outside, 
taking care that you do not cut two pieces for the same arm. Baste the pieces to- 
gether, stitch tliem up and overcast the seams. A neater way for wash goods, and 
one in which seams are hidden altogether is this; Baste the lining, under and upper 
together, and the outside, under and upper together, then baste the tw o parts, lining 
aiui outside together. When the .seams are sewed, turn the Sleeve, and everything 
is finished inside and out. When dresses are cut very high on the shoulder, the top 




',l¥ 



inele<-ant It it is necessarv to cut anvthing from the length of the shoulder, that 
s'lme'^ amount must be added to the lop of the Sleeve, making it more rounding. 
Wrinkles across the top of the Sleeve, or in front, are caused either by the (op not 
bein" r<.undino- enough, or the seam at the front of the arm is too far down. 1 his 
will be remedied in filling bv the French System, it cannot be done m any other way, 
except by fitting the Sleeve itself. Linings are now cut trom silk or some solt mate- 
rial that "will yield to the movement of the arm. 



done without showing the marl 
rubbing the velvet on the iron 



PRESSING THE SEAMS 

When the Sleeves are made from cloth or any heavy material, the seams should 
be pressed open with a hot iron; when made from silk, cashmere, or any thin mate- 
ri-il the seams should not be pressed; llie edge should be overcast, upper and under 
inrt lO"-etlier- the back arm seam should be turned towards the under part, and 
fastened to tlie linii5g. The seams may be pressed to one side provided it can be 

:s of the seam on the outside. The seams in velvet Sleeves should be pressed open, by 

instead of the iron on the velvet. 



FRENCH SYSTEM OF FITTING. 

In fitting Ihe Sleeve bv the French System, there will be no necessity of re-fitting, as described above. Tlu-se 
simple but important directions are intended for beginners or dressmakers who do not use the French System. Ihe 
lessons on the French System of cutting and fitting will be found of tha highest importance not only to beginners, but 
to experienced dressmakers. 



0'2 



FEENCH SYSTEM. 



SPECIAL NOTICE. 

This {tiid (he followinrj page u c.vclusii:ely for beginners 





Vis. 1. 



Fig. 2. 



Directions 
for Taking the Measure. 

Pass a tape measure around tlie 
breast just under tlie arms and 
above the bust, as seen above; draw 
it OIK inch tighter than, the dress is to 
ft; the number of inches tlien 
ascertained is Ihc size of tlie bust. 
The measure sliould be talvcn over 
llic dress above tlie bust, and com- 
fortably tight ; take one measure 
only. 



Uiiii^uriaii System of Cultliii; aixl riltini 



These simple but practical lessons are intended for 
beginners, or those having little or no previous expeiience 
in cutting, and who feel the necessity of commencing at 
once to earn a living. While we would urge every young 
dressmaker to thoroM-ighly understand the French System 
before they commence to cut and fit, we are Avell aware that 
there are n'laiiy who cannot aiforil to wait until they master 
every detail connected witli the System. To such we would 
s.ay, "give particular heed to the following directions, they 
will materially aid you and keep you from falling into 
many errors that might naturally result from incxperienee. 
You cannot cx])ect. until you have thoroughly mastered the 
whole of the French System, to be able to produce a perfect 
and satisfactory lit, "without trying on ; but by care, 
palience and experience, you will reach the desired result, 
and be able without delay, or fault, to master the most 
diflieuU work. While you are studying the I'^'cnch System, 
you can cut and lit with safety from the following 

DIRE€TIOM«i. 

To Cut and Fit a Basquk. First.— Take the meas- 
ure— one measure only — as described above. Set'Oinl.— 
Select a model pattern to correspon<l in size to the measure 
(see Note A). Third. — From this pattern cut a model 
waist (sec Note B), for one side only ; allow a good half 
inch for sjams, and two inches in front for the lap. 
FoiirtJi. — Wlien the model waist is cut, sew all the seams 
with a running .^titch, four stitches to the inch. Fifth. — 
Fit on the model waist over the dress ; fasten the back 
exactly in the centre with pins, two inches apart, then fasten 
the front in tlio same way ; when the back and front are 
carefully i)inucd, lit the model waist the same as if you was 
fitting a dress ; see that every alteration is carefully pinned 
or marked. This is what the Hungarian dressmaker calls 
taking the impression, that is, titling the model waist. 
When the w.aist is fitted, remove the pins that fasten the 
model waist to the dress ; first mark where the !aii ia front 
is to be turned in. When the waist is removed, rip all the 



seams apart without stretching ; cre.ase the edge of the 
model waist as close to the seam or basting stitches as possi- 
ble with both hands, between the forefinger and thumb. If 
alterations are made, crea.se cx.actly where the ))ius are 
placed to indicate the alterations. To Transfer the 
Impression from the Model "Waist to the Lii-iing. — 
Take each piece of the model waist separately, beginning 
with the front, spread it on a table over two th'ickncsses of 
the material you intend to use for lining ; it must be spread 
quite smooth ; fasten all around the edge of the model waist 
outside of the create or seams ; this is done with pins, whicli 
should be driven through the model and lining into the pine 
table— see page TT ; the pins should be placed two or three 
inches apart, or close enough to hold the lining and 
model firmly and smoothly. !>>ixth. — When this is 
done, mark or pierce through the lining all around the edge, 
exactly in the crease or seam with the point of the shear's, 
or .some sharp instrument ; iiierce so that the marks will 
show distmctly through both sides of the lining. The back 
and all other iiieces belonging to the model waist should 
bo treated in the same way. Sc^■t'll^h. — When all the 
seams are marked, remove the pins and cut the lining ; 
allow for seams and laps everywhere, except round the 
arm-hole. ElKlilil. — If the model wai.st is ]iroperly fitted, 
and the impressiou correctly transferred lo the lining, there 
will be little or no alteration needed in refitting or trying 
on. It is better to use a tracing wheel instead of a pointed 
instrument ; thus : Kun the tracing wheel close to the scam 
over the stitches ; this is a much (piicker way, but requires 
more care to do the work. Xiiilli. — When the linings are 
cut, lay each piece separately on the material beginning with 
the tw'o front pieces ; pin the lining to the material before 
cuttiug — see jiage 73 ; one pin only is required for each 
jiicce. Tciilh. — In cutting the material, do not cut close 
to the edge of the lining but block it out roughly ; when .all 
the pieces are cut, roll each np separately ready for basting. 
In basting the pieces together, that is, lining and material. 
It is necessary and important to have the lining quite loose 
at the waist. 



V 



Pl-BLISHED BY JaME8 McC'ALL & Co., NeW YuKK. 



93 




Elovcntll. — In all tiglit-fitting garments, such as 
Basques, Polonaises and .laekels, tlie lining slioukl be cut 
half an inch longer to allow for the fullness; the lining and 
material should he quite plain across the waist from hack to 
front, hut lengthways llic lining should he half an inch full 
at, and near the waist line; the fullness in the lining should 
be sewed in with the. seams. TAVClflll. — To baste the 
lining and material, first baste all around the edge, about an 
inch from the seam, stitches two inclics apart; keep the 
lining next you while basting; when the pieces are basted, 
trim the edges even with tlie lining, overcast lining and 
material together, stitches four to the inch. Tliirtccntli. 
— After the linings and material are basted, and the cdgi s 
overcast, baste all the seams perfectly plain except the back 
shoulder scam, that part sliould be cut half an inch longer 
and held full on the front; in basting the scams, hold the 
back next you. For further instructions on basting, see 
French S)'slem; for the present, follow the above directions. 
Foiirtcenlh. — Ileforc the garment is completed, it should 
be tried on, that is, before the sleeves are sewed in, before 
the button-holes arc cut, before the buttons arc .sewed on, 
and before the seams under the arm arc sewed, the garment 
sliould be rc-fitlcd as represented above. To fit tlie 
sleeve, sec French System on Fitting the Sleeve. When 
the garment is completed, press all the scams open with a 
hot iron. 

CuTTrNG ox THE Bi,\s. — Bad fitting waists arc sometimes 
caused by cutting (he side pieces and pieces under the arm 
on the bias. C.wtiox. — The thread or grain of the mate- 
rial and lining should be straight round tlie waist; there is 
no difficulty in cutting the back and front, these parts arc 
gaged by the selvage, but the side piece and piece under the 
arm are often spoiled from cutting on the bias; the lining 
and material should be cut with the thread running t..e 
same way; beginners often cut these pieces to save material 
regardless of the way the thread runs. 



Note A. — The set of basque patterns furnished with the 
French System arc called model patterns, and when we 
speak of model patterns, we always refer to the patterns 
accompanying the System. It is by these patterns the 
model waists are cut. See model patterns explained in 
French System. 

Note B. — The model waists are linings cut from com- 
mon bleached muslin; they are cut from the model paltern; 
when we speak of model pattern, we refer to the paper pat- 
tern; when we speak of model waist, we refer to these mus- 
lin waists; the.v are not to be used for lining, they are to be 
used only for taking the impression, after whicli they are 
ripped apart, and from which the real linings are cut. Sec 
model waist explained in French System. 

Note C. — Your success as a fitter will depend on three 
things, First: the manner of taking the impression. Second: 
the manner of transferring the impression, and Third: the 
manner of basting. You may possess all knowledge in 
regard to dressmaking, you may have worked at the busi- 
ness for twenty years, but if you fail in any one of these 
particulars, you fail as a fitter. 

Note D. — In fitting over a full bust, lay a srhall pleat in 
the front edge of the lining, just above the darts, this will 
give more width above the bust and keep the front edge 
straight. See French System on full bust. 

Note E. — The French dressmakers cut a pajier pattern 
for every piece and part of any dress or garment tliey make ; 
this is done to save material, and it pays well for those who 
will take the time and trouble to do so. 

Note F. — No matter how well you may understand the 
culling and fitting, if you fail in basting, your labor will be 
in vain. The forty lessons connected with tlic French 
System, are all of more or less importance to every dre.ss- 
niakcr, but those on basting and how to avoid wrinkles are 
among the most important. No matter how well the model 
may be fitted, if the waist is poorly basted the result will be 
a failure. 

Note G. — A good fitter can take from thirty to <'orty 
measures or impressions in one day. A good cutter can cut 
a Basque in twenty minutes and Polonaise in thirty minules. 
At first you may take two hours to a Basque and four hours 
to a Polonaise. Practice makes perfect. 

Note II; — In taking the measure or impression it is 
important that the person -to be fitted wear the same cor.sct 
and undergarments when fitted, that are to be worn after 
the garment is made, as a thick fiannel undergarment, or an 
ill-shaped corset, will make quite a difference in the appear- 
ance and fit of the dress; as the model waist is fitted, .so the 
dress will be when finished. 

Note I. — In basting the seams, hold the back next you; 
in basting the side seams, begin with the right side, starling 
from the top; first fasten the entire seam witli pins three 
inches apart, pin the left side in the same way, starling from 
the top — back next you; as you baste, remove the pins. If 
the pieces arc not cut even, let them run over at the bottom, 
never at the toj). The slioulder seam should be fastened 
with three pins before basting, one in the centre, and one at 
each end; divide the fullness equally. 

Note J. — Pressing the Se.vms. The waist seams of 
all garments, whether of silk, satin, velvet or woolen goods, 
should be pressed open ; for pressing the seam, .see directions 
in French System. 

Note K. — C'autiox. In cutting a garment, see that you 
do not cut two pieces for the same side. It is a .safe rule to 
plan all your pieces before cutting. 

Note L. — The Polonai.sc or Princess Dress is cut from 
the basque, by simply extending the skirt, and allowing for 
fullness and draping; for further instruction, see French 
System. 

Note M.— Fitting the Sleeve. To fit the sleeve, 
sec directions on sleeves. As the .sleeve is one of the most 
important, if not the most difficult part of a dress 
to fit, we recommend all youmr dressmakers to a care- 
ful and thorough study of every less m connected with the 
s'cevc; the sleeve is explained in different parts of the 
French System. 



94 



FKENC'U SYSTEM. 



GARMENTS REPRODUCED. 

When ;i garment is to be rc'i)rodiiced from a 
]ii('tui-('. that is, wlien a polonaise is to be made 
fnini a fashion phxte, first cut a pattern in tissue 
jiaper. ])in it together and drape over a lav figure. 
The sivirt or part to be drai)ed should not be cut 
but left the full Avidtli of the pajier. When the 
drajiing is coniplett'd, cut off the surplus paper 
before the ])attern is removed from the figure; mark 
distinctly the points to l)e looped, otherwise you 
may liave diffieulty in relooping. With a little 
])ractioe, any style of garment may be rei>rodueed 
over a figure. Among the l)cst for this jiurpose. 
is the "Everett," exjiiained on page 64. 

ONE SHOULD ER HIGHER THAN THE OTHER. 

There are very few ]ieo])le higher on one shoulder 
than tiie other, notwithstanding the assertion of 
nianv ili'essmakers to the contrary. The diffieulty 
is not in the shoulder, but in the basting. When 
the seams are basted crooki-d, that is, one side 
higher than the other, the garment will Ite mie- 
sided and give the ap])eai'anee of a high («■ hnv 
shouldc>r. Xearly all young dressmakers and bad 
liasters, eom])laiu of many customers being diffieult 
to lit (Ui account of one shouhh'r being higher tluin 
the other. WJien a dressnniker thoroughly under- 
stands the ai't of basting, she will have im trouble 
witii hiiiii and low shoulders. Another cause of 



higli and low shoulders is in fitting. Few ladies 
can stand erect in one jiosition longer tlian five 
minutes at a time; the tendency is to lean mi mie 
foot; when this is done, one shoulder goes uji, the 
other down. 

PAPER FOR CUTTING PATTERNS. 

You can purchase large sheets of manilla paper 
at any dry goods store for 2, :?. 4 or 5 cents per 
sheet, or lo cents per jjound. We will send you 
pajter at the following ratt's; Xo. 1 tisstte manilla, 
size of sheet 50x120 inches, 5 cents per sheet, or 
1(1 cents by jiost. This jiaper is used for draping; 
one sheet is eipuil to seven yards of mnslin 24 inches 
wide. 

No. 2 extra, heavy manilla i)aper, size of sheet 
22x28 inches, ."> cents ]>er sheet, or 10 cents by 
post; this is used for cutting model ])atterns. One 
sheet will cut a. complete pattern except the sleeves; 
seven sheets will cut the full set. 

TO DRESSMAKERS. 

Dressmakers or beginners who have not the 
time to cut model basi|ue patterns, will lie furnished 
with com])lete sets, cut in heavy manilla i)a])er for 
fifty cents each size, without sleeves; sizes ;50, 32, 
o4 and 3(i, are cut with one ])iece under the arm as 
rcjiresented on ])ages (iS and 71; sizes 3S, 40 and 
42, are cut with two ])ieces under the arm as rep- 
resented on pages <J9 and 83. 



CONTENTS OF THE FRENCH AND ENGLISH SYSTEMS 



I. Englisli Svstciii of Orafliiii!: or Cuttiiiij Iiv 

Huleilll.) 

II. Taliiii^- tlie Measure (111.) 

III. FiUiiin' lUv Shoulilcr Blades (III.) 

IV. A Klat Hust— How In Make and Fit (III.) 

V. A Mediiun Full Bust — How to Make and 

Fit (111.) 

VI. A Full Bust— How l(] Make and Fit (111.) 

VII. A Very Fidl Bvist— How lo Make and 

Fit (ill.) 

VIII. Stout, Tliifk Set Fiiiure.s— Full Bust (III.) 

IX. Round SlKuilders (111.) 

X. Strain'ht, Eruet Figures (III.) 
XI A tall. Slim Figure (III.) 

XU. To Alter the siioukler Seam (III.) 

XIII. Waist wUli Seams to the Armdiole (111.) 

XIV. Waist wilU Seams to tlie Shoulder (111.) 

XV. English System of t'utting the Basque (III.) 

XVI. Eni;lish System of t'lUting the Polon- 

aise (III.) 

XVII. Art of Basting (III.) 

XVIII. How to Avoid Wrinkles (III.) 

XIX. French Sy.stem of Cutting — First Lesson 

(111.) 

XX. French System of Cutting — Second F^esson 

XXI. French 'System of Culling — Third Les- 

son (III.) 

XXII. French System of Chitting— Fourth Les- 
son (111.) 

XXIII. French System of Culling—Fifth Les- 
son (III.) 

XXIV. The Walking Coat (III. ) 

XXV. The Sleeve (III.) 

XXVI. Looping or Drajiing, 

XXVII. Whaletiones— How toMakeiind Where 
lo Place, 





PAGE. 




4 to 17 




18 




IH 




19 




20 




2\ 




22 




2a 




24 




2."i 




2() 




37 




28 




2!) 


■.w 


and :il 


d'i 


and 'Sa 


u 


and 35 


m and ;^7 




m 




;«) 


40 and 41 


42 


and 4:i 


44 


and 45 


46 and 47 | 


48 


and 49 




50 



XXVIII. The Dolman, 

XXIX. French Svstem of Cutting— Sixth Les- 
son (III.) 

XXX. The .Model Pattern (III.) 

XXXI. Stretehing and liasling the Seams (III.) 

XXXII. French System of Filling, 

XXXIII. Transferring the Impression, 

XXXIV. Special Notice — Success in Fitting, 

XXXV. Where a Larse Business is Done, 

XXXVI. Note A— In Fitting over a Full Bust, 
XXXVIL Note B— The French Dressmakers, 
XXXVIII. Note C— If vou Fail in Basting, 
XXXI X. Note D— A Good Fitter, 

XL. Note E— Taking the Measure or Impression, 

XLI. Note F — Dressmaker Doing a Small 
Business, 

XLII. French System of Fitting- First Les- 
son (III.) 

XLIII. French System of Fitting — Second Les- 
.son (III.) 

XLIV. Taking- the Impression (HI.) 

XLV. Art of Basting (III.) 

XLVI. llnnu-ariau System of Fitting (III.) 

XLVII. Good .Judiiment, 

LXXI. Dressing Well. 

LXXII. How Ladie- Should Dress, 

LXIX. To Ascertain the (.Juantity of Material 
ia a Garment after It is Made Up — 
English Kule, 

LXX. Tasle. 

LXV. The Skirt— Two French Figures (111.) 

LXVI. Copying Styles, 

LXVII. Failure. 

LXVIII. To A.seertain the tjuantity of Material 



30 



ui a Garment after 
Freijcb Rule, 



It is Made I'p- 



50 

51 
33 
53 
53 
53 
53 
53 
53 
53 
53 
53 
53 

53 

54 

55 
53 
55 
56 
56 
63 
63 



63 
63 
61 
62 
63 



ea^ 



I'LiiLisiiiiD iiv .Ia.mi;s .McC'all & Co., Xi:\v Yhuk. 



95 



CONTENTS OF THE FRRNCH AND ENGLISH SYSTEMS.— Continued. 



LIX. Prepaiins the Sleeve for the Arm-lidle. 

LX. The Polonaise, 

LXI. The Princess Dreas, 

LXII. The Walking Skirt, 

LXIII. The Cloak or Saeiine, 

LXIV. Tlie Ulstei-, 

LIV. Tlie Sleeve, 

LV. A Larc^e Waist (111.) 

LVl. Wrinkles iu the Waist (111.) 



60 
60 
60 
60 
60 
60 
57 
58 
58 



LVII. Cutting ami Fitting for Children (111.) 
LVIII. Preparing the Arm-hole for the Sleeve, 
XLVIII. Pressing the Seams, 
XLIX. Lengthening the Waist, 
L. IIoolcs and Eyes, 
LI. Cutting on the Bias, 
LII. Buttonholes, 
LIII. Buttons, 



59 
60 
57 
57 
57 
57 
57 
57 



^ CONTENTS OF MOSCIICOWITZ SYSTEM. 

The following Contents cover 83 pages, and are intended for the advanced dressmaker. This is the s.vstem now in 
general use by the best men dressmakers. It is a system complete in itself. It is published at the earnest request of 
prominent dressmakers. 



1. Mdscheowitz's .system of cutting, fully illustrated and 
e.xplained. It can be learned perfectly fi-om the printed 
directions. It is e-\ceedingly simple and accurate; a basfjue 
or polonaise can be cut in twenty minutes. It is the system 
in general use throughmit Europe and by many of the lead- 
ing modestes iu America. 

Note. — For the encouragement of intending parcIiaKers, or 
thoiu who cnniwt visit the city in permv, we in<ihe the foUoiring 
stdteinjnil. " If ire fail to moke yon undemtiind this .vjtiteni, nf 
cutting, (IX illUKtriited inid. e.rphiinrd oro pages iid, 67, 68, 69, 70 
and 71, yonr monry tciU he returned. 

3. Moschcowitz's system of taking the measure — illustra- 
ted and explained. Great sim|)licity in this as in every 
other branch of his work; page 66. 

3. Jloschcowitz's .system of forming the darts, dividing 
theseams, etc., rules for the position of each seam and thedi.s- 
taiice between each, etc., etc. These rides have never before 
been published in any work on cutting, and are of the 
highest importance to a dressmaker; [lage 6.-<. 

"4. Moschcowitz's sj'stem of divi;!ing the scams for a large 
and corpulent figiu'e. It is the aim of artistic dressmakers, 
to make a large figure look small. In this ]\Ioschcowilz 
excels; page 69. 

5. Moschcowitz's system for cutting the postilion or 
skirt, showing the outlines of a basque, giving spring at the 
waist, over the hips, etc. ; page 70. 

6. ^loscbcowitz's perfect model for a l)asquc, forming 
the darts above and below the waist, showing the natural and 
artificial waist, and tliecauseof wrinkles at the waist; page ~i'Z. 

7. Moschcowitz's system of basting, tirst lesson." how 
the lining should be cut, an important lesson from an old 
waist lining; page 72. 

8. Moschcowitz's system of cutting the material, the 
danger in cutting figured goods, how to avoid mistakes and 
save time ; Jjage 73. 

9. Moschcowitz's system of basting the lining and 
material together, rules for basting, preiiaring tlie waist for 
basting the seams, importance of the work ; page 74. 

10. Moschcowitz's system of basting the si^ams, impor- 
tance of basting, success in fitting, bad basting — the cause of 
bad fitting; page 75. 



I II. Moschcowitz's system of prep:iring the model waist, 
how he prepares his model iiatterii for each sea.son, liis 
system of cuttiog, great simplicity and saving of time- 
[.lage 76. 

13. Moschcowitz's system of transferring the impression, 
and cutting the lining— important work, how to avoid 
refitting; page 77. 

18. Moschcowitz's system of taking the measure or 
impression — illustrated by nine different figures, the accur- 
acy and simplicity of the system, saving of time and mater- 
ial ; jiages 78, 79 and 80. 

14. Moschcowitz's system of fitting the sleeve, the 
model sleeve — how to make it, bow to lit it; page 81. 

15. Moschcowitz's system of pressing the seams, impor- 
tance of pressing each seam, directions for pressing al' 
kinds of material ; pages 57 and 81. 

16. Jloschcowitz's system of cutting for a large waist, 
fitting large waists, cause of wrinkles in front — how to alter' 
how to preiiare the pattern; pages 82 and 88. 

17. Moschcowitz's system" of cutting the skirt, the 
walking skirt, the train and demi-train skirt, the proper 
length and width of each; page 84. 

is. Moschcowitz's system of cutting the polanaise, 
improvement in cutting the darts below the waist, the two 
.styles of polonaise— illustrated and explained; page 85. 

19. Moschcowitz's S3-slem of cutting and fittins the 
English walking coat; jiages 46 and 86. 

20. Moschcowitz's system of extending the skirt for 
large figures, the perfect model for a perfect skirt; page 87. 

21. Moschcowitz's system of cutting, making and 
fitting the sleeve, the English, French and coat sleeve— illus- 
trated and explained, an important lesson for dressmakers- 
pages 88, 89, 90 and 91. 

33. Moschcowitz's system of treating the waist, how to 
prevent the seams from drawing, the material from giving 
way, and the waist from stretching out of shape and "form- 
liage 64. 

28. Moschcowitz's system of fitting by pro.xy, and 
making dresses for lailies living at a distance, and to fit as 
w'ell as if persimally fitted; page 60. 



MODEL PATTERNS. 



If you cut by Moschcowitz's systpm, wo would recom- 
mend you to procure a set of model basque patterns in heavy 
manilla paper; these may be cut fnim the tissue basque pat- 
terns which are furnished with the System. If you have not 
the time to cut these patterns, we will furnish you with the 
complete .set for f3..")0. or .single patterns at fifty cents each; 
in either case we .send post free, and at our risk. If you 
prefer to cut tliese patterns yourself, which -ive recommend 
you to do, we will furnish the manilla paper, 32x28 inches, 
extra heavy, for five cents per sheet, or ten cents per sheet, 



sent by post at our risk and expense. Seven .sheets will 
cut a complete .set except the sleeves which we do not 
furnish ; these are supplied with the French System and may 
easily be cut in heavy paper at a trlHing cost. Note. — To 
those who have not "bought the French Sy.stem, the model 
patterns will cost $7 per set or |1 each. 

JAMES McCALL & CO., 

46 & 48 E.\sT 14TII St.. New York. 



96 



FKENCII SYSTEM. 



Rules for Learning; the French System. 



Read the Instniction Book tlirough two or three times 
before you commenee the following work. If j'ou have no 
pravious experience iu cutting and lilting, and feel the nec- 
essity of commencing at once to earn a living, we would 
recommend you to study and practice the lessons on 
pages 93 and 93. This wdl enable you to cut and fit with 
safety, while you are learning tlie French System. It should 
be remembered that these two pages are designed for the 
use of beginners only, and in no way connected with the 
French System. 

Art "of Iia)«l in;;. — Turn to pages 35, 37 and .'52 ; read 
over these pages at least three limes, or until you are quite 
familiar with each and every part. It is not necessary to 
conunit to memory; when you are thoroughly conversant 
with the contents you will be ready for your tirst pr.actical 
lesson in basting. 

First L.es.>>on oii Bustin^^. — Select some friend 
who will allow you to fit a waist; take one measure — the 
breast measure only, as directed ou page 2; select a model 
basque ]jattern to correspond to the measure — seepage 71; 
cut a lining from this pattern from common bleached 
muslin; from this lining cut the materia', from cheap com- 
mon stuff, si.\ or eight cents per yard, or from any old mate- 
rial; cut the lining as directeil on page 72; baste the lining 
and material as directed on pages 73 and 74; baste the seams 
as directeil ou page 7.'); when the .seams are basted, fit on 
the waist; for jiractice j'OU may make such alterations as 
you see fit. The pomts to be gained iu this lesson are 
First: t'utting the lining — Second: Cutting the material — 
Third: Basting lining and material together — Fourth; Bast- 
ing the seams. Pi'actice on this lesson until _vou feel that 
you are master of each and every detail. 

Seoo3nl I^esson on Basting. — Select a friend 
with a very full bust; take the two bust measures only as 
described on page IH; .select a model pattern to correspond 
with the breast measure — that is the measure above the bust 
— see Note A, page 36. Pages 20. 21, 22 and 23 describe 
and illustrate the full bust. Cut the lining and material 
as directed above, only allow for the fullness in front. In 
basting tlie lining and material, first sew the V in front, 
then baste the lining and material from the toji of the darts 
to the bottom, after which baste al)Ove the darts over your 
knee. In a very full bust the lining will be a little loose 
over the fullest part; this will do no harm but rather benefit 
t'.;e front. On no account should you commence to fit. until 
you understand the art of basting. Your success iu fitting 
will depeud on your knowledge of basting. 

ART OF FITTING. 

If J'OU have carefully and thoroughly studied the les- 
sons on basting, and understand the details which are 
essential to your success, j-oii will have but little trouble in 
understanding the art of fitting. Study each lesson in the 
following course ; 

First. — Page 7G explains the first lesson in cutting the 
model waist ; this part of the work should be understood 
before any attempt is made at filling, 

Set'oncl.— Pages 78, 79, 80 and 81 explain fitting tlie 
model waist or taking the impression. The experienced 
litier will be able to do this work almost instanlaneoiisly ; the 
beginner will recpiire some practice, but after two or three 
trials the work will be .successfully done. 

Tliirtle— Page 77 — Transfekking tiiio Impi!Ession. 
This is the most imiiorlant wurk in the wlmle course ; the 
wiillh of a pencil mark if allowed on each seam will make a 
difference of one or two inches in the size of the garment. 
It is of the highest importance that care and attention be 
paid to the lesson on this page. 

ART OF OUTTIKG.— FRENCH SYSTEM. 
First. — Pages 06 to 71 explain Jloschcowitz's system of 
cutting. Begin at page 66 and go on step by step to the 
end of page 71. ^Ir. Moschcowitz's tools or .system consisteil 
of nothing more than a set of plain waist patterns, a tracing 
wheel and a pencil. We furnish you with the same tools; 
if you u.sc them aright, you will be able to cut a basque in 
en minutes, or a polonaise in twenty minutes. The work 
IS simple and yet reipiires a degree of artistic skill. Practice 
in drawing the lines and curves until you can imitate the 
hand of an artist. 

ENGLISH SYSTEM OF DRAFTING. 

Pages 4 to 17 explain the English system of drafting. 

After you have learned the three principal parts of the 

System — Basting, Fitting, and the French system of Cut- 

y ting — you will be ready to commence with the English 



system of drafting. On page 4 you will find the key to the 
lesson ; you may take three hours to learn this one lesson; 
when learned you will lie able to cut a waist, in five 
to ten minutes. Take the measure as directed on page 2; 
]irocure a small square, fifteen inches long — you can 
buy one at any hardware store, or have one made by a car- 
lienter, or what is just as good make one from stiff paste 
lioard; if that is not at hand, use a .sheet of pajier, twelve 
inches squaie; it is not necessary to have the inches marked 
on the square or paper. To cut a lias(pie for a lady meas- 
ureing 34 inches, turn to page 9; draft a plain waist on 
paper; turn again to pages 66, 67, G8 and 71. A little 
practice will enable you to cut rapidly. The Engli.sh .system 
is used by tailors in cutting men's garments. It is calcslated 
on a division of the breast and shoulder measure. This 
system is but little used except by country dressmakers. 
It should be used onljf iu making ;jiodel patterns, which 
we recommend all dressmakers to do. 

MOS( IICO WITZ ',9 S YS TEM. 

Moschcowitz Brothers have an international reputation 
for artistic dressmaking. Tliej- are favored with the 
patronage of many of the first ladies of American society. 
They have had the honor to make the Inauguration drc.s.ses 
for the hist twelve years. The costumes worn by the wives 
and daughters of our Presidents, Governors. Senators, and 
wealthy citizens on distinguished occasions, have been, for 
the most part, products of these celebrated men dressmakers. 
Their system of cutting and fitting is perfection in every 
particular. Everything is done according to rule, and yet 
.so simple that a child may understand. We have the 
privilege and are permitted to publish their system 'of 
cutting, fitting and basting complete. Kot only this but we 
have been assisted by eighty or ninety of bis workmen, 
among whom are some of the best men dressmakers in the 
country. The system commences with page 6.5 and is 
continued to page 96. In this system you have the result 
of more than twenty j'ears' experience of the best men 
dressmakers in the world. 

THE MODEL PATTERNS. 

We furnish with the French System twenty-nino 
model patterns, cut in tissue manilla paper as follows ; 

Seven Pi-.viN AV.visT P.\tterxs in the following sizes: 
30, 32, 34, ;!6, 38, 40 and 42 inches breast measure, the 
same as used by Moschcowitz and represented on pages 66 
and 67. If these patterns are lost or injured, they can be 
reproduced \<y the English .system of drafting. The plain 
waist pattern is the foundation or model from which all 
patterns and styles are cut. The skill and ability of a 
cutter, is tested bj' the manner in which lie handles the 
plain waist pattern. 

Seven I5.\sque P.\tterns in the following sizes : 30, 
32, 34, 36, 38, 40 and 42 inches breast measure. These 
pal terns are the same as represented on page 41; they are 
cut from the plain waist, as represented on jiages 66, 67, 68, 
69, 40 and 41. These are called model or standard patterns, 
from %\liicli the model waist linings are cut. Should these 
patterns be lost or injured in any way, a duplicate set may 
be cut by the English syslem of drafting, and French 
system of cutting. 

Six P.MTEKNS FOR CHILDREN in the following sizes: 
2, 4, 6, 8, 10 and 12 years old; these are tlie same as repre- 
sented on page .59, except that there .are no pleats in the 
pattern; it is cut plain in the back. Pleals and folds can 
be made to suit the malerial or taste of the weai'cr. 

N^inc Si.EEVE P.\TTEUNS, three for the French, three 
for the English and three for the Coat sleeve. Each style 
has thiec sizes, small, medium and large. These patterns 
are represented and explained ou page 90. 

CUT YOUR OWN PATTERNS. 

We earnestly recommend you to cut your own jiatterns as 
soon as you are able to do .so. We furnish the aliove pat- 
terns free of charge with the System as a help for beginners. 
It is good practice to cut one pattern every day if y(Ui can 
afford the time. In doing so, let each style vary, or select 
some style from a fashion book, beginning with those that 
are very simple; the sleeve patterns and the patterns for 
children should not be destroyed. 

Instruetions Free. — All instructions, verbal or 
in writing, are free. If you have any difficulty, write to 
us. if you cannot come in person. We recommend you to 
follow Moschcowitz's system of cutting and fitting. 



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